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Saturday 25 January 2020

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First Look: why L for ie d to ra e m ca e th is l e v r a m

Passionate about photography since 1884

Wild weather

Rain, fog, ice or snow? It’s time to get out with your camera

steps to superb prints

Our straightforward troubleshooting guide nails printing niggles

Used Sony bargain? Pros and cons of the now keenly priced Alpha 7R full-framer

Campaigning with cameras How photographers are working together to save wildlife

Leica SL2 Premium full-frame mirrorless camera on test

Writings on the wall A poignant documentary project on WW1 grafﬁti

Create your art with cutting-edge science. ZEISS Batis Lenses

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7days

A week in photography COVER PICTURES © GARETH MON JONES / MICHAEL NICHOLS

Nobody can say the UK weather isn’t eventful, and while this can make planning a day out challenging, it’s often good news for photographers. Rain, mist, snow and storms offer a plethora of photographic opportunities. Our cover feature shares some great tips for getting better shots in ‘bad’ weather, with useful advice from winners of the excellent Weather

Photographer of the Year competition. Staying with excellence, we’ve also got an exclusive look at Leica’s magnificent new M10 Monochrom. While it and a decent lens will cost more than many a family car, this looks like it might just be a dream camera for black & white photographers, according to testing sage Andy Westlake. We also check out the original Sony Alpha 7R, now something of a used bargain... Geoff Harris, Deputy Editor

Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:

This week’s cover image

Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions. Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com. Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.

Gareth Mon Jones’s image of a cloud inversion in Snowdonia won overall prize in the 2019 Weather Photographer of the Year

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This week in 1955

In this issue

TREASURES FROM THE HULTON ARCHIVE

3 7 days: this week’s news 8 First look: Leica M10 Monochrom 12 It’s good to share: readers’ pictures 14 Great shots whatever the weather 23 Inbox 26 Can a book make China look? 34 Make your prints charming 38 Photo Stories 40 Behind the print

51 Second-hand classic: Sony Alpha 7R 55 Accessories 57 Tech Talk 66 Final Analysis

42 Leica SL2: full review

Alfred Hitchcock by Thurston Hopkins TAKEN from the Picture Post story ‘A Sinister Time Was Had by All’, this portrait of director Alfred Hitchcock was taken outside the British Museum by Thurston Hopkins. The interview was conducted as Hitchcock passed through London, where he, the photographer and the journalist Kenneth Allsop looked

around at a number of London scenes. The article, which talks – amongst other things – about Hitchcock’s weight loss (he had dropped down to 13 stone from a previous high of 21 stone), uses a different picture, so this image must have been a spare that was left in the archive.

The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.

NEWS ROUND-UP By Geoff Harris and Andy Westlake

Major lifeboat project reaches milestone

Photographer Jack Lowe has reached a five-year milestone in his project to travel around the UK and Ireland, shooting all 238 RNLI lifeboat stations and crews using the wet collodion process. Since January 2015, he’s visited 147 stations, driven over 35,000 miles in his mobile darkroom (a converted ambulance), and created 1,800 glass plates. Lowe, the grandson of actor Arthur Lowe, plans to visit 30 more stations this year. See lifeboatstationproject.com.

1TB key drive coming

SanDisk used the recent CES consumer electronics show in Las Vegas to reveal a 1TB USB key drive – in other words, it’s compact enough fit on a keyring. A terabyte will store about 100,000 10MB images, and the ingenious new drive features USB Type-A and the the newer Type-C plugs. UK availability to be confirmed.

Travel photo workshop discount

Travel photographer and AP contributor, Steve Davey, is running a travel photography workshop at the Destinations travel show, at Olympia London from 30 January to 2 February. You’ll get feedback on your images from Steve and his colleagues. AP readers can get £5 off the masterclass ticket, which includes entry to the show, by quoting AMPHOTO. Order from http://bit.ly/stevedaveydiscount.

Manfrotto releases ‘Pro Rugged’ cards

Manfrotto’s tough SD, CF and microSD cards feature sealed designs that protect internal components, with the SD and microSD versions able to keep out liquid and debris and be submerged for up to 72 hours. They can withstand high temperatures too. They come in 64GB and 128GB sizes, with prices from £26.99 to £124.99. For full details see manfrotto. com/uk-en/

Canon has announced the Photo Culling Plugin for Lightroom Classic which claims to ‘intelligently’ select your best images from a batch. The AI-powered plug-in analyses images based on sharpness, noise, exposure, contrast, closed eyes, and red eyes. Coloured flags give you feedback and the process can be customised. Available in March from exchange.adobe.com. 4

Canon Lightroom plug-in ‘culls’ your photos

BIG

picture Beautiful winning image from WEX Photographer of the Year 2020 ESTABLISHED in 2012, the WEX Photographer of the Year is chosen from images submitted using the #wexmondays hashtag. Throughout 2019, approximately 15,000 images from photographers across the UK were submitted for consideration, all competing for the overall title, along with £1,500 in prize money. Every week, one winner, two runners-up and seven other shortlisted shots are selected by the Wex Photo Video judging panel based on technique and creativity, and allocated points on the #WEXMondays leaderboard. The top three photographers with the most points accrued throughout the year are presented with the ﬁrst, second and third prize places in the competition. The top title for 2020 went to Andi Campbell from Devon – one of his images submitted over the year is seen here. The 46 photographs from the competition are currently on display in a free exhibition at the Wex Photo Video Gallery in London. The show runs until the end of January.

Words & numbers

Skills are never taught they are acquired. I can give you a camera but I can’t feed your vision Raghu Rai Indian photographer

SOURCE: UK.PCMAG.COM

8 TB

The amount of storage on SanDisk’s record-breaking prototype SSD drive, recently shown at CES.

Now’s the time to get ready for your close-up THE SEARCH is on to ﬁnd the next winner of Close-up Photographer of the Year (CUPOTY) in association with Afﬁnity Photo. This annual competition is open to all photographers, using any type of camera, including a phone or microscope. There are seven categories: Animals, Insects, Plants & Fungi, Intimate Landscape, Manmade World and Micro (for images taken with a microscope), as well as Young CUPOTY for entrants aged 17 or under. Each category winner will receive £300, except for Young CUPOTY who takes away

Last year’s winning image of Chinese villagers eating noodles was taken by Jianhui Liao

You’ve only got until midnight on 9 February to enter Pink Lady Food Photographer of the Year. As regular readers will know, the contest has many and varied categories celebrating food, food culture and the people who who grow, cook and enjoy it, so it’s about much more than close-ups of gourmet dishes in expensive restaurants. Categories such as Food for Celebration, Fujiﬁlm’s Award for Innovation, the World Food Programme Food For Life Award and Food Stylist Award inspired more than 9,000 entries from 77 countries last year. The judging panel includes AP Editor Nigel Atherton and is chaired by food photographer David Loftus, who has worked closely with Jamie Oliver. This year’s competition features a prize pool of £20,000, shortlisted entries will also go on display at an exhibition at the Mall Galleries, London, before going on tour. Full entry details can be found at www.pinkladyfoodphotographeroftheyear.com.

Last call for Food Photographer of the Year

two Sigma lenses (a 70mm F2.8 DG Macro Art lens and an 18-300mm F3.5-6.3 DC Macro OS HSM lens with a close-up ﬁlter). Every entrant will receive a discount voucher from Afﬁnity Photo, MPB, Zerene Stacker and Greenwings Wildlife Holidays (subject to availability). The judging panel includes top pros, such as David Maitland, Sue Bishop, Ross Hoddinott, as well as regular AP contributors Keith Wilson and Tracy Calder. You have until 17 May to enter and the overall winner gets a cash prize of £2,500. Full details at www.cupoty.com

Emanuele Biggi won the inaugural Close-up Photographer of the Year with this image of an adder

Fotospeed offers printing masterclasses

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PRINTING specialist Fotospeed is again running ‘Academy’ masterclasses at its HQ in Corsham, within striking distance of Swindon and Bath. The one-day workshops will take place in the new purpose-built studio, and will cover printing, Lightroom and Photoshop skills, mixing theory and practice. They will be led by Tim Jones, who is an Adobe Certiﬁed Associate. ‘There will also be exciting workshops led by Fotospeed photographers, sharing their wealth of knowledge across a range of photographic disciplines,’ said a company spokesperson. Each day course will include refreshments, lunch and a ﬁnished image to take away on Fotospeed paper. Courses cost £95 and run throughout the year, with the printing

workshop ﬁnishing on 11 November, the Photoshop course on 18 November and the Lightroom one on 2 December. For more information visit www.fotospeed.com or call 01249 714 555.

The day-long courses will run throughout the year

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You canâ&#x20AC;&#x2122;t buy iconic new. A true icon earns its status. A powerhouse when launched, the M9 was the worldâ&#x20AC;&#x2122;s smallest, fullframe digital system camera - proving that small can truly pack a big punch. See our current stock of this Icon at www.mpb.com

Buy. Sell. Trade. Change gear.

Cable release

A mechanical release can be screwed into the shutter button, but there are no electronic connectors, such as USB or HDMI ports.

Stealth

The M10 Monochrom is based on the M10-P, which means it inherits the same super-quiet shutter.

EVF

Leica’s Visoflex electronic viewfinder can be mounted on the hotshoe, and should prove especially handy for accurately focusing super-fast lenses.

Baseplate

In a nod to Leica’s 35mm film M cameras, the battery and SD card are accessed by removing the baseplate.

Leica M10 Monochrom Andy Westlake takes a first look at Leica’s latest rangefinder dedicated to shooting in black & white LEICA is a company that plays by different rules to everyone else. By building cameras in low volumes and charging a premium for them, it’s able to pursue different avenues than the mainstream Japanese makers. Most obviously, it’s been able to maintain a healthy market for its M-series rangeﬁnders, despite this type of camera having generally fallen out of favour in the 1960s. It also makes cameras dedicated purely to black & white shooting, with its M Monochrom series.

So how, and why, would you do such a thing? The basic principle is simple: conventional cameras sense colour by arranging red, green and blue ﬁlters over the light-sensitive photodiodes of their sensors, with the image data being converted to a visually meaningful photograph through a complex process of demosaicing, noise reduction and sharpening. To produce a black & white image, the colour then has to be removed again. In contrast, by doing without a colour ﬁlter array (CFA) over the sensor,

At a glance

£7,250 body only ■ 40.9MP monochrome full-frame CMOS sensor ■ ISO 160-100,000 ■ Optical viewfinder and rangefinder focusing ■ Leica M mount ■ 3in, 1.03m-dot touchscreen LCD

the Monochrom cameras are capable of recording black & white images directly. This gives visibly superior sharpness and tonality, along with higher sensitivity and lower image noise. The M10 Monochrom is the third generation of the series, after the original 2012 version based on the M9 with an 18MP CCD sensor, and its 2015 follow-up, the Typ 246 with its 24MP CMOS. However while these previous cameras used existing sensors without a CFA, the latest model differs by employing a completely new 40-million-pixel full-frame CMOS sensor that doesn’t have a conventional colour counterpart. Leica says that it’s speciﬁcally optimised for use with M-mount lenses, which requires a careful arrangement of offset microlenses over the pixels towards the corners of the sensor. It provides a broader sensitivity range than its predecessor, of ISO 160-100,000 compared to ISO 320-25,000, and is claimed to deliver lower noise and increased dynamic range.

Purist design The camera body is based on Leica’s current top-end M10-P rangeﬁnder. At ﬁrst glance it has much the same styling and layout as previous M-series cameras, dating right back to the M3 of 1954, which originally debuted the lens mount. It has a decidedly purist design, with relatively few external controls. The shutter speed and ISO are controlled using analogue dials on the camera body, while the aperture is set mechanically on the lens. You have a choice between shooting in aperture-priority or manual

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Budget Huawei phone with 13MP camera Huawei’s Y6s is available in Orchid Blue or Starry Black

exposure modes, and focusing is manual only, using a coincident-image rangefinder. A second ghost image is overlaid in a spot in the centre of the viewfinder, and rotating the focus ring moves it relative to the main view. When the two are aligned, the lens should be correctly focused. The direct-vision optical viewfinder provides 0.73x magnification, and indicates the lens’s field of view using paired framelines: 50mm and 75mm, 35 and 135mm, and 28 and 90mm. For wider lenses, you’ll need to use a supplementary viewfinder, or the optional Visoflex EVF. Basic exposure information is projected into the viewfinder using red LEDs.

Leica’s design philosophy is to strip the camera right back to the essentials, and notably this is one of the few current models that doesn’t record video. However the ﬁrm isn’t really stuck in the past, and there are plenty of up-to-date features too. Pressing the LV button on the back enters live view, which enables more accurate focusing and composition than the optical viewﬁnder. The LCD is touch-sensitive, and can be used for browsing through your images and checking focus, and to quickly access secondary settings such as metering and drive modes from an onscreen status display. Wi-Fi is built-in for transferring images to your phone using the Leica Fotos app, although Bluetooth is absent.

LOOKING to upgrade your smartphone so you can take better photos, but don’t want to spend a bomb? Huawei has announced a budget smartphone, the Y6s, which costs £129 for the handset (monthly contract prices will differ). It comes with a single, but still very functional, 13-million-pixel rear camera with an f/1.8 lens and LED ﬂash, and an 8MP f/2 camera at the front, which is more than enough for selﬁes. The Y6s incorporates Huawei’s AI camera technology,

including scene recognition, which is able to recognise over 20 different categories of objects and 150 scenes. It also has 3GB of RAM, 32GB of internal storage and a 6.09in display. The new phone is available either in Starry Black or Orchid Blue.

First impressions I’VE BEEN lucky enough to try out the Leica M10 Monochrom before its official launch, and my immediate reaction is that it’s an absolutely beautiful camera. Even the cosmetic design is monochrome, with a purposeful matte-black finish and the A positions on the top dials marked in a muted grey. Its build quality is stunning, and the pared-back, minimalist design allows you to immerse yourself completely in the process of taking pictures. Even my first few test shots reveal that the new sensor is very special indeed. It’s just a shame that the sky-high price means relatively few photographers will ever get to shoot with one. Technical editor Andy Westlake gets hands-on with the M10 Monochrom

Photo contest focuses on mental health

This new competition seeks mental health-related images

TALK, a new mental health charity started by photographer Luke Woodford and his model wife Mandy, has announced its ﬁrst competition, the 2020 TALK Photography Awards. The theme is mental health, and the overall winner will receive £4,500 worth of prizes from Sony, Rotolight and Zeiss, including a Sony Alpha 7R III; the top 15 entries will also feature in a month-long exhibition at Wex Photo Video’s store in Manchester. All entry fees go directly to the charity. ‘There are no rules, just create something that depicts what mental health means to you,’ the organisers explain. The deadline for entries is 22 March and you can ﬁnd full details at www.talkcharity.org. 9

Coincidences: New York by Chance by Jonathan Higbee

This book encapsulates the dedicated patience required for skilful street photography, as Amy Davies discovers BOOK 10

Published by Anthology Editions, LLC. ISBN 978-1-944860-25-7, $35. Hardback, 204 pages ★★★★★

’ve often thought that street photograph is simultaneously the easiest and most difficult photographic genre in the world. Anybody who’s got access to a street can partake in it, but the skill, patience and dedication to capture something special or even better, unique, is only possessed by a special few. A casual flick through the pages of Coincidences might lead you to believe that it’s just another street photography book shot in New York.

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ALL PICTURES © JONATHAN HIGBEE

Also out now The latest and best books from the world of photography © PADDY SUMMERFIELD

Incredible patience is required to capture moments like this

BOOK

The Holiday Pictures by Paddy Summerfield Dewi Lewis, £30, 132 pages, hardback www. dewilewis.com ISBN: 978-1-911306-48-1 Locations were staked out for hours waiting for the right shot

‘Heated Phone Call’ Extraordinary visual puns or jokes can be found on each page

‘Each photo contains a visual pun, a joke and a coincidence that most would never notice’ There’s perhaps no better place on Earth to practise your craft – New Yorkers don’t really give a damn what anybody’s doing, while you’ll ﬁnd interesting visual characters in abundance. But stop to linger a while on each page of this book and you’ll begin to see something extraordinary. For each photo contains a visual pun, a joke and a coincidence that most would probably never have noticed, let alone thought to photograph. These little nuances transform what might have been an otherwise ordinary snapshot into something rather special, and make the

collection as a whole quite remarkable. How many of us, for example, would be bothered to ﬁnd a spot that you know will make a great street shot and return to it for several weeks just wishing and hoping for all the necessary stars to align? Once you’ve gorged yourself on the feast of street delights in this lengthy tome, you can read an essay by the photographer himself. Putting it at the end of the book is an interesting choice – but I’m glad he did. It gives you an excuse to return to some of the photos he references, giving you a new appreciation of them. Street photography happens to be one of my favourite genres – precisely because I’ve never had the skill to execute it to this kind of level. If you’ve got a penchant for it too, this is a book which comes very highly recommended. Superb.

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PHOTOGRAPHY and the British seaside go together like… well, ice cream and chocolate flakes. There’s something about the sea that draws us to it. Paddy Summerfield has been drawn to the coast for a considerable number of years judging by this book. There are no captions or titles, and the shooting style and use of black & white film are consistent, so the only clues to time and place are in the pictures – the cars, the fashions and of course the cameras, as Kodak Instamatics give way to phones and iPads. He has sought out the quirky, the comical and the banal, and paints a subtle but unmistakable picture of a nation at play that, even without the captions, could only be Britain. ★★★★★ Nigel Atherton

BOOK

Photographers Against Wildlife Crime Edited by Britta Jaschinski and Keith Wilson. Published by Photographers Against Wildlife Crime, hardback, £75, 248 pages. ISBN 978-1-9996372-1-7 UNLESS you’ve been living under a rock, you’ll know our planet is in crisis. It’s not just climate change; human activity is driving the sixth mass extinction event in Earth’s history – and much of this is due to illegal poaching for human consumption. In the face of political inactivity, a collective of wildlife photographers is raising awareness of the heartbreaking stories of animals that are under serious threat, including even the largest land mammal, the African elephant. This bilingual English / Chinese edition is full of stunning imagery that ranges from harrowing to breathtakingly beautiful. But it’s not all doom; there are also seeds of hope. This is vital work – see page 26 for the full story. ★★★★★ Andy Westlake 11

In next week’s issue

Viewpoint

On sale Tuesday 28 January © TRACY CALDER

Peter Dench What can be done, to help the not-sohappy snapper? Photography may have the key to a world-weary malaise

A little bit of happiness goes a long way. Why not use photography as a force for good?

What I contribute is to showcase some of my photography that reflects happiness, set frequent photo-challenges and also guide others to get started on their photographic journey. The team also includes an applied positive psychology and leadership trainer and researcher. They offer practical tips and daily habits to Mental health support promote positive mental health. This is the seed from which Capture Happiness is a lovely phrase, capturehappiness.org has germinated. one you can carry in your head when Nothing revolutionary but never more hunting for pictures. A focus for the lens, relevant. Mental health is society’s issue of motivation for the mind and a reason for the moment. Photography has never been being. It uses the camera for what I believe more popular or accessible. The need to is its higher strength, to turn it away from share the happier moments of our lives has us and document life. The world needs an never been greater. More and more antidote to the spiralling feeling of despair. people are coming forward to say they are Help make 2020 the year we turn that struggling with depression. This is sad but frown upside-down. reassuring that people can share their If you’d like to get involved, simply troubles knowing they’re not alone. capture your happiness in a photo and Capture Happiness hopes to build a share on Facebook. Post your photo community that encourages people to on your Instagram profile, tagging focus on the positive in life through the lens capturehappinessnow and use the of a camera. A movement that motivates hashtag #CaptureHappinessNow. Send in people to get out and take photos as a your photos and stories to smile valuable process in itself, whatever the end capturehappiness.org. No trolls, haters, result. The community utilises photography, politics or partisanship. Keep it HAPPY :-) film and personal experiences to share Peter Dench is a photographer, videographer, presenter, perspectives and problems in the search writer, author and curator. He is the recipient of a World for peace of mind and contentment. It focuses on the world around us, to escape Press Photo award and has published several books. See www.peterdench.com introversion and taste delight.

Do you have something you’d like to get off your chest? Send us your thoughts in around 500 words to the address on page 23 and win a year’s digital subscription to AP, worth £79.99 12

How to make money Tracy Calder has the lowdown on buying and selling old photographs

Sony Alpha 6600 CONTENT FOR NEXT WEEK S ISSUE MAY BE SUBJECT TO CHANGE

THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED

s it just me or does the world seem a little more toxic? There are more ways to connect and share than ever before but with increased access to good news, there’s also an intravenous highway of bad. I’m not depressed but I feel a little less happy, the flames of joy burn a little less bright. My film-maker friend is depressed and has been for a while for a number of reasons: loved ones falling ill, career troubles and the isolation that freelancers often experience. The not-so happy snapper needed help and I, and hopefully you, have something to offer. They were looking to pull themselves out of it, to find an interest that would get them out of the house. Perhaps witnessing other people being happy and doing inspiring things could be a way for them to glean some happiness of their own, to be inspired and eventually ease their depression? Using photography as therapy isn’t an original concept, very few are, but that shouldn’t stop us finding a way to make a positive contribution.

Andy Westlake gives Sony’s ﬂagship APS-C mirrorless model a full test

A prize year Amy Davies rounds up the photo contests you should enter this year

Points of the compass John Wade on the remarkable Compass camera, that had a multitude of features

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So good, we got it... ... again! Wex Photo Video is a Which? Recommended Provider. Source: Which? members’ annual survey June-July 2018 and 2019.

Get more camera for your money Choose from a range of used photographic and video equipment

All stock is quality checked and graded accordingly

30-day returns policy†

All used items come with a 12-month warranty*

Visit www.wex.co.uk/used or call us on 01603 486413 7 days a week Terms and Conditions: *Except those classed as for ‘spares only’. †Some items are excluded from our 30-day returns policy. Software, memory cards, DVDs can only be returned if still sealed, unless they are deemed to be faulty. Any other items must be returned in an ‘as new condition’, with no damage to the packaging. If the item has obviously been used you may only be offered a partial refund. Any free gifts that came with your purchase must also be returned. Proof of purchase must be supplied. Further T&Cs apply, visit wex.co.uk/terms for more details. Wex Photo Video is a trading name of Calumet Photographic Limited (Company Registration Number: 00425579) and Warehouse Express Limited (Company Registration Number: 03366976). VAT Number: 108 2374 32. Registered ofﬁce: 13 Frensham Road, Sweet Briar Industrial Estate, Norwich, Norfolk, NR3 2BT. © Warehouse Express Limited 2020.

The best pictures on social media this week

#appicoftheweek Göreme, Turkey by Rab Lawrence Nikon D850, 70mm, 1/1000sec at f/5.6, ISO 64

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

RAB IS a continental truck driver who delivers goods for oil industries around Europe. He says, ‘I always have my camera close at hand ready for any amazing views I see on my travels.’ Although in this case he took this atmospheric shot of hot air balloons taking off in Cappadocia while on a recent holiday with his wife to Turkey. He did some minor adjustments to the raw image before converting to JPEG for Flickr. See more of Rab’s images on his Flickr page at www.flickr.com/ photos/p300njb. Picked by Nigel Atherton, Editor, as our #appicofthewek

Win!

Each week we choose our favourite picture on Facebook, Instagram, Flickr, Twitter or the reader gallery using #appicoftheweek. PermaJet proudly supports the online picture of the week winner, who will receive a top-quality print of their image on the finest PermaJet paper*. It is important to bring images to life outside the digital sphere, so we encourage everyone to get printing today! Visit www.permajet.com to learn more.

We also likedÉ Chin-strapped by Graham Borthwick Canon EOS 5D Mark III, 150-600mm, 1/640sec at f/11, ISO 640 ‘THIS image was taken during a quiet moment on Bertha’s Beach in the Falkland Islands. He looked like he was tired from his swim. Alternatively, he might have just discovered his feet for the first time,’ says Graham who uploaded this to Instagram using #appicoftheweek. See more of his images @shadow_shots on Instagram and @ borthwick_g on Twitter. Picked by Amy Davies, Features Editor 25 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

SOCIAL MEDIA

Low Light by Matthew Mallett

Nikon Z7, 35mm, 62secs at f/11, ISO 64, SRB ND 1000 filter MATTHEW is a photographer based in north-east Essex who enjoys many different styles of photography and has moved from medium-format film mirrorless in that time. He says, ‘This was taken at Dovercourt Beach in Essex and is the historic Low Lighthouse. Having photographed this location many times I wanted to give it a different look to match its name. The long exposure and black & white mood helped.’ See more of Matt’s work on Twitter @1936matt Picked by Andy Westlake, Technical Editor

A Propos de Rien 175 by Nigel Bewley

Fujifilm X100F, 1/20sec at f/5.6, ISO 100 NIGEL is a retired audio engineer from west London. Being retired means he can devote more time to photography. ‘The photograph is of a panel of glass exhibited in the Museum of London and made in the late 1960s by a London glass works. It was back-lit and the colours and abstract nature of the glass struck me.’ See more on Flickr at www.flickr.com/ photos/nigelbewley Picked by Michael Topham, Reviews Editor

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Technique

TESTING CONDITIONS

Great shots whatever the

weather If you hang up your camera in the wind, rain and snow, you’re really missing out. Geoff Harris reveals why ‘bad’ weather is often the best time to be out shooting

‘A

lot of iconic images have been taken in the most awful weather… you’ve got to embrace in order it to get the shot other people would never get.’ Wise words indeed from Melvin Nicholson, a successful landscape photographer and course leader who shot to international fame with his career-making image of a rare ‘fogbow’ in the snow-covered Scottish highlands. Over the next few pages we’ll reveal some great tips from Melvin and other

skilled photographers for getting eye-catching shots in ice, snow, wind and rain, proving to you that there is no such thing as bad weather when it comes to photography. Many of the images and tips were taken from people who’ve done well in Weather Photographer of the Year, co sponsored by the Royal Meteorological Society. Hopefully this feature will inspire you to enter the 2020 competition, details of which will be revealed at www.photocrowd.com/photo-competitions. © PATRICK HOCHNER

2 Focus manually when it’s snowing Falling snow can confuse your camera’s AF as the active focus point will often lock onto whatever is behind it. A quick solution is to change to manual focus so you can lock onto your subject or desired part of the scene. Use live view to zoom in and check you’ve got sharp focus. Focus peaking on mirrorless cameras also comes in very useful here, too.

1 Don’t let rain stop play

Climate change means we see less and less snow in the UK but at least there’s still plenty of rain. An interesting subject in the rain can make a good image great. Try to ensure the rain isn’t blowing towards you to avoid your lens getting soaked, and increase the ISO or aperture as necessary to cope with poorer light. Weather POTY ﬁnalist Patrick Hochner really delivers the goods in this image from Kyoto. 16

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3 Go minimalist

Don’t forget the rules of composition just because it’s snowing. As well as rules of thirds and leading lines, try considering a square crop for a minimalist snowscape. This can also cut out distractions in a scene. Just make sure you don’t crop so much that essential picture information is lost and you end up with a very small ﬁle that won’t print well (though there’s always Instagram)

4 Watch your filters

Attaching a UV filter in a rainstorm makes sense as you can clean moisture off easily. Another good tip from Melvin Nicholson is to use nano-coated glass filters, rather than resin ones, as they are much easier to wipe clean of rain or snow. ‘I like magnetic polarisers too as they are easier to attach to the adapter, you don’t want to be fumbling around in the wet or freezing cold.’ Always carry a microfibre cloth in the rain (shower caps, free from hotels, are also great for keeping rain off your gear).

5 Get reflective

Puddles, or neon lights reﬂected back on pavements, are an easy win when shooting in wet weather. A famous building, such as the Eiffel Tower, reﬂected back in a puddle adds a fresh creative twist, or check out Nick Turpin’s wonderful portraits of London night-bus passengers behind wet windows – www.nickturpin.com.

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6 Be more creative with flash

While a camera-mounted flashgun is useful for lighting up rain drops straight in front of you, you can get really professional effects with off-camera flash. Options include backlight with silhouette, a simple set-up that just needs careful exposure adjustment, or using a bare flash-head behind the model and a reflector at the front to bounce light back onto their face. Or try placing your subject near a large shop windows so their facial shadows are lit up.

Technique © MELVIN NICHOLSON

7 Polarisers pay dividends too

Polarising filters also come in useful with piercing winter light, as they can be used to reduce glare, remove reflections from water and other reflective surfaces, as well as deepen blue skies. Melvin Nicholson used one particularly skilfully for this famous ‘fogbow’ image, where preserving detail and clarity in this unusual, fleeting phenomenon was crucial. © HUGO BEGG

10 Don’t get ‘frozen’ to the spot

Lightning is another dramatic weather effect which can transform an image, but again, you need to think how it will interact with other elements in the frame. Hugo Begg, the Young Weather Photographer of the Year 2020, focused on the town across the bay where the storm was heading to ‘because it was the only real reference point in the framing’. Trying to focus on the lightning will be very difficult, however fast your reactions.

8 Ride the lightning

9 Use ND Grad filters

Whether you are shooting snow or cloudy days, filters are really handy. For this winning image in Weather Photographer of the Year 2019, Gareth Mon Jones used a 0.9 ND grad filter to get a nice balance between the darkness of clouds and the pre-dawn light, without blowing out the highlights in the sky. Practise fitting filters beforehand so you can work quickly in chilly conditions.

Helen Trust, who won the weather round of our APOY competition, puts a five-minute alarm on her phone so she doesn’t get stuck in one spot, compulsively shooting away once she has got the exposure and focusing sorted out. This is a common pitfall. It stood her in good stead for APOY – by choosing a different shooting angle for this Norwegian house in thick snow, she beat lots of other entries.

12 Whole world is a rainbow If you’re lucky, a beautiful rainbow appears after a downpour as the sun comes out. Checking the weather forecast in advance is essential for rainbow chasers and you’ll need to move fast: a wideangle lens is usually essential to get the rainbow in a landscape, or use a telephoto to pick out a feature. You may need a tripod to avoid softness at slower shutter speeds. Polarisers are also really useful at beating haze and boosting colours.

13 Expose correctly for snow

We’ve discussed a lot of dramatic weather in this feature, but all too often, dull grey skies are the default here in the UK. In fact, grey skies suit a melancholy landscape very well, or when shooting abandoned or historic places or areas. As a grey sky acts like a giant diffuser, it can also be helpful when shooting very striking gardens (or people, as you don’t need to worry about strong shadows and blown highlights).

11 Glad to be grey

It’s basic, but worth repeating: because of the way camera metering systems work, you may need to add between 0.7 and 2.0 stops of exposure compensation to avoid snow coming out ‘grey.’ Just keep an eye on the histogram to make sure you haven’t clipped the highlights. It’s also wise to shoot in raw to give you the most latitude during editing, particularly when it comes to changing the white balance (again, daylight white balance can make the snow look blue-ish).

14 Be a stormchaser

Even with so many ‘stormchaser’ photographers working globally, great photos are still to be had, reckons storm specialist and Skylum ambassador, Bastian Werner. Safety is paramount, however, if you fancy a go.

‘Never get in the inside of the storm, at its core. This is the place where the actual storm takes place with hail, high wind gusts and maybe a tornado. Before one goes stormchasing, make sure you understand the subject.’

Technique 15 Capturing stormy seascapes

Apart from taking sensible precautions and avoid getting too close to the sea, ensure your cameras are covered in between taking photos, or better still, invest in some body and lens sleeves or covers to protect them from the elements. The combination of wind and waves will produce a lot of spray from the sea, which cameras and tripods don’t take kindly to.

18 Mist opportunities

Mist and fog are less dramatic phenomena, but can also really make a picture. As with snow, the camera is likely to underexpose, so dial in 1/2EV-1EV exposure compensation, or use bracketing (in-camera or in software). Although the view through a landscape can often be limited, use a longer depth of field and careful focusing to ensure what objects can be seen really stand out.

19 Compress the scene

16 Think where the light is coming from

17 Be stable and open

When shooting lightning, ensure that the aperture is wide enough to accommodate for the lack of ambient light but also produce a depth of field that could keep most lightning strikes in focus. You will often use a slower shutter speed in order to capture lightning in the landscape so a tripod is usually a must. It’s a big enough challenge without worrying about camera shake.

To maintain a safe distance, use a long telephoto lens to get close to the stormy seascape action. Zooms are more versatile than primes. It’s important to keep some context, however, such as a pier or a lighthouse, so don’t zoom in so much that the viewer loses the bigger picture of what’s going on. © MICHELLE COWBOURNE

Simply exposing correctly for snow or preserving highlight and shadow detail will not in themselves make a great picture. Think where the light is coming from in order to illuminate key parts of your snowy scene. For this image, Gareth Mon Jones made sure the sunlight was coming in from behind him and lighting up the mountains. ‘Be efficient if you have travelled a long way by carefully working out where the light will be at its best, rather than just blasting away,’ he says.

Try using a long focal length to compress the perspective – a telephoto lens can compress layers of mists on distant hills very effectively. Another good tip is to select the Daylight white balance setting, rather than Auto or Cloudy, to preserve the cool blue of a misty morning. Shooting raw gives you maximum editing flexibility with white balance.

20 Zoom in

21 Don’t forget good composition

A rainbow in itself won’t make the shot – it’s also how it relates to other elements in the frame. Melvin Nicholson carefully positioned his camera to get the ‘fogbow’ over the tree while also including some foreground interest. Make full use of leading lines and if the rainbow is arching around a famous landmark, all the better, as in this image by award-winning landscape photographer, Michelle Cowbourne.

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LETTER OF THE WEEK

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In defence: views on learning a craft

Editorial team Group Editor Nigel Atherton Geoff Harris Deputy Editor Andy Westlake Technical Editor Michael Topham Reviews Editor Amy Davies Features Editor Technique Editor Hollie Latham Hucker Jacqueline Porter Production Editor Chief Sub Editor/Features Jolene Menezes Acting Chief Sub/Features Amanda Stroud Sarah Foster Art Editor Steph Tebboth Senior Designer Andrew Sydenham Studio Manager Photo-Science Consultant Professor Robert Newman Hollie Bishop Ofﬁce Manager Special thanks to The moderators of the AP website: Andrew Robertson, lisadb, Nick Roberts, The Fat Controller

Advertising Head of Market Liz Reid 07949 179 200 Senior Account Manager Samuel Shaw 07970 615 618 Production Coordinator Chris Gozzett 0203 148 2694

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Editorial Complaints We work hard to achieve the highest standards of editorial content, and we are committed to complying with the Editors’ Code of Practice (www.ipso.co.uk/ IPSO/cop.html) as enforced by IPSO. If you have a complaint about our editorial content, you can email us at complaints@ ti media.com or write to Complaints Manager, TI Media Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please provide details of the material you are complaining about and explain your complaint by reference to the Editors’ Code. We will endeavour to acknowledge your complaint within 5 working days, and we aim to correct substantial errors as soon as possible. All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the right to shorten or modify any letter or material submitted. TI Media Limited or its associated companies reserves the right to re use any submission sent to the letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered trademark of TI Media Limited © TI Media Limited 2020 Amateur Photographer (incorporating Photo Technique, Camera Weekly & What Digital Camera) Email: amateurphotographer@ ti media.com Website: www.amateurphotographer.co.uk. TI Media Limited switchboard tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues per year) on the Tuesday preceding the cover date by TI Media Limited, 161 Marsh Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part of this publication may be reproduced, stored in a retrieval or transmitted in any format or medium, whether printed, electronic or otherwise, without the prior written permission of the publisher or the editor. This is considered a breach of copyright and action will be taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to any publication or advertising matter without first obtaining written permission from the publisher. TI Media Limited does not accept responsibility for loss or damage to unsolicited photographs and manuscripts, and product samples. TI Media Limited reserves the right to use any submissions sent to Amateur Photographer Magazine in any format or medium, including electronic. One year subscription (51 issues) £155.50 (UK), e259 (Europe), $338.99 (USA), £221.99 (rest of world). The 2015 US annual DEU subscription price is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Subscriptions records are maintained at TI Media Limited, 161 Marsh Wall, London E14 9AP. Air Business Ltd is acting as our mailing agent.

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In response to Dr Low’s criticism of Nigel Atherton’s and Geoff Harris’s recent Viewpoint columns (Inbox, 11 January) it is worth noting that their views are in line with those of other opinion-formers in the photography world. One observed recently that some photographs he had seen in an ‘art’ magazine looked as though they had been taken from the strip of ﬁlm randomly exposed in a 35mm camera while winding to frame one! Dr Low mentions Henry Peach Robinson in his views on ‘kneejerk conservatism’. Robinson had ideas about composition but his real claim to fame was that, while believing photography was an art form, he produced most of his pictures as composites from more than one negative. At roughly the same period, Peter Henry Emerson also believed that

photography was an art form but felt that the ﬁnal results should be achieved at the taking stage, on one negative. By the end of the 19th century the photography world had got into a furious debate about which method was correct. And now, with the advent of easy digital manipulation, that debate has been revived. Dr Low seems to suggest that elementary training in photography (and music) is not necessary. The value of mastering basic skills in any medium is well demonstrated by L S Lowry. He is famed for his matchstick people paintings but I recommend a visit to the Lowry centre in Salford, where his early drawings reveal superlative technical skill. In music, Beethoven often broke accepted rules of harmony but only after extensive, rigorous study under Haydn and others.

I have been using a camera for 70 years. While it is useful and often rewarding to keep in touch with trends and the opinions of others, I have realised that the most satisfaction is obtained by taking photographs to please myself, and not to care if no one else ever sees them. As Kahlil Gibran wrote: ‘Travel and tell no one, live a true love story and tell no one, live happily and tell no one...’ Peter McKenzie Well put, Peter. Learning a craft, and the ‘rules’ that go with it, and then pushing the envelope by knowingly breaking them is a creative decision that should be encouraged. It is very different from breaking the rules because you’re oblivious to them, and haven’t bothered to learn the craft – Nigel Atherton, editor

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Another Defence

The erudite Dr Dennis Low (Inbox, 11 January) makes his revealing observations with more than a touch of unfortunate acidity when he focuses on the recent Viewpoint articles by Nigel

Atherton and Geoff Harris. While there’s no doubt that he’s entitled to his opinions, readers can only be left in doubt about his true motives. Talking about ‘kneejerk conservatism’ is hardly a life-changer, and

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Nigel’s comments about learning a subject’s basics have more meaning to the majority. Photographic composition will always be a matter of taste, whatever the ‘rules’. Matt Mitchell

Richard got this Olympus PM-6 camera from eBay

A curiosity

Some of your contributors might be interested in the Olympus PM-6 microscope camera I bought from eBay just before Christmas. It takes 35mm ﬁlm and is in perfect condition, dates from 1955. Richard Bond I’m sure some of our readers will be familiar with this device, Richard. Do send us some photos from it if you get any good ones – Nigel Atherton, editor

Which polariser?

I recently asked Canon for a recommendation regarding whether its EOS M6 Mark II camera required circular or linearly polarised ﬁlters. The helpdesk lady was most polite and helpful, but even after performing an internal database search, she was unable to provide an answer. A couple of days later, I received an emailed follow-up, with paragraph 2 stating: ‘…we would like to inform you that this is left to you to make the selection between linear and circular, depending basically on the type of photography and the style that you wish to be captured’, continuing that I should perform my own investigation because Canon does not market polarisers. Its lenses do have ﬁlter threads, so what I question, are these to be used for? 23

YOUR LETTERS © MATTHEW HORWOOD / GETTY IMAGES

Back in the day

A wander through the AP archive. This week we pay a visit to January 1914

John wrote in about this shot, but the people are not as close to the waves as they seem to be

1914 THIS WEEK’S cover model also graced the cover two weeks earlier. Perhaps the Editor, FJ Mortimer, had the hots for her but, as she was wearing the same dress, a more likely explanation is that he was trying to squeeze maximum value out of a photo shoot. Our publisher would have approved. Six months before the start of the biggest global conﬂict in history the burning topics that vexed AP readers included the proliferation of ‘cheap and nasty’ plates, methods of storing negatives, and the merits of sulphide toning. A regular series on the A to Z of photographic chemistry reached the letter P, with instructions for the mixing and usage of Potassium Phosphate, Potassium Permanganate and Pyrogallic Acid. Meanwhile, the Criticisms of Readers’ Prints page compared and dissected two contrasting seascapes – still arguably the most popular subject of today’s readers. ‘Analysis by comparison may not be the most intellectual way of considering pictorial efforts,’ opined the unnamed critic, ‘but it is one of the most useful, as it clears the mental atmosphere by directing consideration to one aspect only at a time.’

Two contrasting seascapes were discussed by the AP critic 24

measure light reflected off either the main reflex mirror, or the sub-mirror behind it. Circular polarisers eliminate this problem. However mirrorless and compact cameras use the image sensor itself for AE and AF, so logically they should work just fine with cheaper linear polarisers. However, there is a complication, as the optical low-pass filters used by some digital cameras (including the Canon EOS M6 Mark II) also rely on the incoming In defence of Canon, light not being polarised. companies in general are So if you use a linear reluctant to give advice polariser, you might in about products that they some situations see do not make themselves, increased image and this also includes artefacts such as false third-party lenses. colour and moiré. But to answer your However, with mirrorless question, when cameras that don’t use autofocus 35mm SLRs optical low-pass filters, were introduced, linear and circular photographers were polarisers should in advised to replace all principle give their existing polarisers indistinguishable with expensive circular results. In practice, polarising (C-PL) filters. however, all the best The reason is that the polarising filters light that’s passed by a currently on the market linear polariser is, by are of the circular type. definition, polarised. But They use polarising because mirrors reflect materials with the light differently highest light depending on its transmission, and employ polarisation, this can multi-layer coatings on cause problems with an both surfaces to SLR’s autoexposure and eliminate reflections. So autofocus systems, which it’s still generally better

I am disappointed by Canon’s suggestion that ‘other parties’ should establish which ﬁlter type is required. Who better than a manufacturer to state which type their cameras require? I believe that the ‘style’ of photography has nothing to do with this, and I am not alone in my opinion that circularly polarised ﬁlters seem much less effective than the traditional linearly polarised variety. Tony DrummondMurray

to buy them anyway – Andy Westlake, Technical Editor

Safety ﬁrst

As an avid reader I was slightly taken aback when reading the feature 101 photographs to take before you die (AP, 4 January). The shot of the stormblasted lighthouse showed a number of persons who hopefully were taking the last of their 101 shots, as it certainly could have been! By publishing this picture it would appear that AP condones photographers putting their lives at risk, not to mention the lives of the rescue services. I do thoroughly enjoy your magazine and am not one for writing letters but feel that it is important not to put your life or the lives of others at risk for the sake of a photograph. John Girrity The photographer, Matthew Horwood, tells us, ‘It’s deceptive – the picture was taken with a 500mm lens ﬁtted with 1.4x converter, so the people are not as close to the waves as they appear. ‘ However, you raise a good point and of course readers should always be sensible when out and about photographing in these conditions – Nigel Atherton, editor

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PHOTOGRAPHERS AGAINST WILDLIFE CRIME

Can a

book make China look?

hotography has the power to inform, influence and change the way people think and behave. Although by its nature photography is a very singular pursuit, sometimes a group of likeminded photographers combine their efforts for a common purpose on a project that has the potential to be greater than the sum of their individual frames. Photographers Against Wildlife Crime is one such collaboration and for the last couple of years this group of leading

wildlife photojournalists and other contributors have combined their talents to produce two acclaimed photo books documenting the realities of the global wildlife trade. The idea for such a book came about after I met the wildlife photojournalist Britta Jaschinski for an interview about her work, which included a series of shocking black & white images exposing the plight of China’s ‘bile bears’, many of which are held for years in crush cages, their stomachs tapped daily with a catheter to remove the bile

Photographers Against Wildlife Crime has raised China’s attention to its part in the illegal wildlife trade. Keith Wilson reveals how their work has been received

A pangolin and her baby, most likely to be sold to a restaurant kitchen in Vietnam or China 26

Pangolin scales seized in transit from Africa to China, at

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A ranger’s bloody hand rests on an ivory tusk during an anti-poaching mission in KwaZuluNatal, South Africa © BRITTA JASCHINSKI / PHOTOGRAPHERS AGAINST WILDLIFE CRIMEª

Heathrow Airport

for use in traditional Chinese medicine. She emphasised that the wildlife trade was so much bigger than bile bears in crush cages. After numerous meetings and discussions, we came up with the idea of inviting other photographers we admire and respect to produce a powerful, haunting and yet beautiful book that tells the truth about the illegal wildlife trade. These were photographers who had been covering this subject for many years, usually through their own initiatives. The book, she stressed, should reach a global audience, using powerful photography, social media and publicity to help bring an end to the illegal trade in our lifetime. Of particular concern to us was China; as the world’s largest market for

wildlife products, getting this message and the work of these photographers to the Chinese consumer was our ultimate objective. Together, we would choose stories and photos to create a unique book exposing the reality of this multi-billion-dollar crime. And so, our concept was born.

Award-winning experience As first recruits, Britta believed it important to gain the support of two of the most prominent photographers working in this area, former Wildlife Photographer of the Year winners Brent Stirton and Michael ‘Nick’ Nichols. This was the beginning and both photographers each shot a promotional video to support our crowdfunding campaign. Another renowned

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photojournalist who joined the group was Paul Hilton, who has over 20 years’ experience of documenting Southeast Asia’s worst wildlife crime excesses, including shark finning and the trafficking of pangolins. He firmly believed that only by getting as many likeminded photographers working together could we possibly begin to make a difference in China. The official launch of Photographers Against Wildlife was announced in the Guardian Online in October 2017, with an extensive gallery of 20 images. It proved pivotal to the success of the launch as there was immediate pick-up from other online and print media outlets all over the world. The subsequent sharing of links to our website and crowdfunding 27

PHOTOGRAPHERS AGAINST WILDLIFE CRIME

Each year, over 70 million sharks are killed for fins. Most are taken by Taiwan, Mexico, Indonesia, Japan and India

‘We are at the final hour to save so many species. Climate crisis and biodiversity collapse is imminent. Now is the time for everyone to stand up and let their voices be heard.’ Paul Hilton pages saw a steady stream of pre-publication orders and our funding target was reached nearly twice over. From then on, printing the book was no longer a dream but a serious responsibility.

Deadly realities In early April 2018 we travelled to Italy to see the presses roll: 184 pages, with 100 photographs by 24 of the world’s most committed wildlife photojournalists documenting the deadly reality of

animal abuse, poaching and trafficking. The book also included poignant studies of the heroes on the ground who rescue and rehabilitate the survivors of this deadly trade. Depicting this contrast of horror and heroism was an important element of the overall content and the ease with which the photographers switched between the two also provided further evidence of their exceptional abilities. This is no ordinary group of photographers: each has

Below left: Vets check a sedated Sumatran orangutan. His rainforest home was cleared for an oil-palm plantation Below right: Training and selection for wildlife rangers in Africa is increasingly based upon military disciplines

extensive experience of using their cameras to photograph the harsh and upsetting realities of wildlife crime. Some, like Karl Ammann, have been documenting the hunting of Africa’s great apes for more than 30 years; Stirton and Nichols are renowned for their photographs of the brutal slaughter behind the trade in rhino horn and elephant ivory; Steve Winter is at the forefront of the fight to prevent Asia’s last wild tigers from being poached to extinction, while others

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Above: Thousands of shark fins laid out to dry in the sun for eventual consumption in shark fin soup

such as Adam Oswell have established their own NGOs to provide enforcement assistance to counter the illegal trade. We also had major contributions from investigative journalist Sharon Guynup, a stirring foreword by Roz Kidman Cox, chair of the Wildlife POTY jury, and a poignant afterword by the legendary Jim Brandenburg, giving voice to the fears of the wolf, perhaps the most persecuted wild animal of all.

A bigger ambition The book was officially launched in May 2018 with an accompanying exhibition at the Leica Gallery in London. Since then, exhibitions and speaking engagements have followed in Switzerland, Germany, France, Spain, Norway, South Africa and the Netherlands. The exhibition in France was particularly memorable – an autumnal outdoor display at the Montier-en-Der International Festival of Animal and Nature Photography, which attracted more than 40,000 visitors. Even though the book was printed in English only, it sold out in less than a year, with orders from over 50 countries, including China. This sales success meant Britta and I could fulfil our bigger ambition of

producing a specially designed Chinese and English bilingual edition for the Chinese market. This new edition launched in October 2019, and it is far more than a translation – the book now includes work by 32 photographers and has been completely redesigned with 64 extra pages and 41 new images. Among the new photo stories are Tim Laman’s exposé of the trade in helmeted hornbills for ‘red ivory’ and Aaron Gekoski’s searing images of animal abuse in Southeast Asia’s zoos and wildlife parks. There are new stories of hope too, including MarieClaire Greve’s account of elephant translocations in Africa and Roy Mangersnes’s uplifting tales of Chinese conservation efforts to preserve a newly discovered species of gibbon and the only valley in China where three species of hornbill can be found. Britta was able to promote the bilingual edition directly with her most recent talk, Wildlife or Commodity, a 60-minute address to a packed theatre in Guangzhou, China. Her appearance was organized by YiXi Talks, which translates as ‘Get Inspired’, and is China’s equivalent of Ted Talks.

Chinese reaction As she spoke, each sentence was meticulously translated to the

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audience, some of whom were simultaneously making online posts on WeChat, China’s equivalent of Facebook. Carefully arranged slides of her work and other images by Photographers Against Wildlife Crime, were displayed on a huge cinema-style screen, adding power as well as visual evidence to the horrors she described: grim bile bear cages; confiscated pangolin bodies; trays of shark fin drying in the midday sun, and starving big cats performing circus tricks. None of these photos made for comfortable viewing, but their significance was even more profound for this audience because China is the world’s largest market for wildlife products. So how did her listeners react to such stark, uncompromising imagery about an issue that continues to damage China’s reputation in the eyes of the West? ‘The people I met were full of tears and very emotional,’ she recalled when we met in London after her trip. ‘They showed me the WeChat posts they had already done during my talk and I was deeply moved by that because they fully understand what’s going on, they understand what needs to be done.’ Of course, there is more to informing the public and 29

raising awareness than by copy sales and talks alone. Since early 2019, some of the images and stories from Photographers Against Wildlife Crime have been used in a social media campaign in Hong Kong to educate the public and inform justice and legal professions about the city’s role as a major transit hub for the illegal wildlife trade. Encouragingly, seizures of wildlife contraband, especially ivory, rhino horn and pangolin scales, increased significantly in the past year, while local initiatives led by ADM Capital Foundation and Wildlife Crime Hong Kong continue to seek tougher penalties and powers of enforcement for Hong Kong’s police and administrators.

Confiscation and rewards China too has started making more frequent seizures. Indeed, minutes after her talk Britta heard firsthand how the Chinese public is helping to tackle the trade. She told me: ‘I felt encouraged walking off

stage and talking to people afterwards. They want to take part in bringing change and there were people from the audience saying to me, “are you aware that the Chinese government now gives actual rewards to people who help confiscate items and bring the people involved to justice?” I learned that there and then. This is what China does, which is amazing.’ Further evidence of China’s focus on fighting the illegal wildlife trade became apparent a few days after Britta’s talk when China Daily, the official English language newspaper of the Chinese government published the cover of the book on its front page with the words: ‘Picture power. How photography can help fight against wildlife crime’. The accompanying story inside included the following quote by Steve Winter: ‘It’s a small percentage of people who are responsible for this trade, but the whole country is damaged by the label. But young people have no

Above: Although illegal in Vietnam, it is common to see rhino horn powder mixed with water and then drunk as a daily tonic

Below left: Britta Jaschinski on stage at her YiXi talk in Guangzhou, China, November 2019 Below centre: One of the audience members poses with her copy of the bilingual edition of the book Below right: The audience made social media posts about Britta’s talk on WeChat, China’s equivalent of Facebook

desire to use endangered species products. If you have the University of Beijing saying these animal body parts have no medicinal value, they hear that and it becomes something we hope they will tell older family members too.’ In addition to these remarks in a state-run newspaper, the book also gained prominent coverage in the October 2019 edition of the

©PHOTOGRAPHERS AGAINST WILDLIFE CRIME™

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Hopefully, these pictures make them and their peers think again.

Beijing-based magazine Esquire China, with no fewer than ten pages of extracts. Esquire’s audience mostly consists of aspiring, professional-class men with plenty of disposable income, some of whom may view the conspicuous consumption of wildlife products such as shark fin soup, or hangover tonics made from rhino horn, as expressions of wealth and status.

Positive engagement

So far, our engagement with China has proved positive and we have since added two new contributors, the Chinese photographers Yongqing Bao and Shangzhen Fan. Both were category winners in the 2019 Wildlife Photographer of the Year awards, with Yongqing receiving the coveted grand prize, the first Chinese entrant to do so in the competition’s 55-year history. The success of these photographers combined with the breakthrough coverage of the book in China has left Britta and I feeling more positive about seeing an end to the illegal wildlife trade in our lifetime. It is a view shared by Brent Stirton, who recently remarked: ‘I think this book started as one thing and then took on a life of its own as more photographers signed up and their work was seen by a wider audience. The fact that this book made it into China and has been well received genuinely gives me hope that educating the Chinese as to the consequences of some of their

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Above: Leopard and tiger heads – a fraction of the 1.3 million confiscated wildlife items stored by the US Fish and Wildlife Service

Photographers Against Wildlife Crime™ (special English and Chinese edition) can be ordered at bit.ly/pawcbook. Co-editors / project creators: Britta Jaschinski/Keith Wilson. Writer: Keith Wilson. Designer: David Griffin. Introduction: Rosamund Kidman Cox OBE. Afterword: Jim Brandenburg. Printer: F&W Druck & Mediencenter, Germany photographersagainst wildlifecrime.com

THE PHOTOGRAPHERS Aaron Gekoski Adam Oswell Adrian Steirn Brent Stirton Brian Skerry Britta Jaschinski Bruno D’Amicis Charlie Hamilton James Chris Packham Christian Ziegler Daniel Beltrá Jim Brandenburg Joan de la Malla Jo-Anne McArthur Johan Marais Karl Ammann Klaus Nigge Marie-Claire Greve Michael ‘Nick’ Nichols Neil Aldridge Ole J Liodden Patrick Brown Paul Hilton Peter Chadwick Roy Mangersnes Shangzhen Fan Steve Winter Sudhir Shivaram Thomas P Peschak Tim Laman Tony Wu Vincent Munier Xiaoqun Zheng Yongqing Bao

choices can eventually save many of our precious remaining animals. We can’t demonise people who have no grasp of that. This book helps to move us closer to understanding trade, consumption and consequence. That has to be a good thing.’ Thankfully, through the power of photography demonstrated by every contributor to Photographers Against Wildlife Crime, there are new signs of more concerted efforts to end the trade. It is a view backed up by Steve Winter: ‘Being a part of a group of passionate dedicated photographers like Photographers Against Wildlife Crime is a real honour. The hardest part – putting this passion into real world change – happens when you stand together and in one voice speak for the ones without a voice. Britta and Keith have taken our message and lit a fire of concern and a desire to bring about change in China, where much of the species are being consumed. This is nothing short of incredible and we as a group are proud our images can win for the animals – if we stand as a group and work together.’ 31

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Technique

PRINTING

Matthew Richards

Matthew began his career as a broadcast engineer for the BBC in London and for companies across Southern Africa. He then became a technical author, before moving into journalism and photography, for which he’s enjoyed assignments in the UK and worldwide. He currently specialises in reviewing cameras, lenses and photographic accessories.

Make your

prints charming

Want to look good on paper? Our 15-step troubleshooting guide will help ensure that what you see on screen is what you get in print The SpyderX Pro (£158) or Elite (£246) calibration tools can make a huge difference to screen accuracy

All too often, your printed photos can bear little resemblance to the digital image you see on screen. The prime culprit is your computer monitor, which is likely to need calibration. Even screens that have dedicated sRGB and Adobe RGB modes can lack accuracy, and settings can drift over time, so it’s worth investing in a calibration tool like the Datacolor SpyderX Pro or Elite. 34

2 Paper chemistry

There’s quite a chemistry between printer ink and photo paper. These two components are carefully formulated by inkjet printer manufacturers, so that they work together to give optimum colour and tonal accuracy, and the best definition without colours running into each other on the page. It’s best to stick with the printer maker’s own photo papers (or a directly supported alternative) to ensure the best results and resistance to fading.

for 1 Calibrate correctness

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4 On the shelf

Avoid cheap knock-off ink cartridges if you want quality photo prints. Keep it real!

3 Liquid gold

It’s often said that printer ink is more expensive per millilitre than the finest champagne or perfume, or even the cost of human blood for hospital use. It’s therefore tempting to substitute genuine ink cartridges from the likes of Epson and Canon, in favour of cheap alternatives. However, cheap inks may contain impurities that can block print head nozzles and generally result in poor colour accuracy.

Communication is mostly digital these days and some of us only use a printer quite rarely. Even so, avoid leaving it on the shelf for too long, as the ink can dry in the print head nozzles and become very difficult to shift. Most inkjet printers run a mini-cleaning cycle at or shortly after switch-on, so it’s worth at least turning on your printer for a few minutes each week.

Supersize your prints

A4 prints tend to look a little lost and insignificant when hung on the wall. Trade up to an A3+ or ‘Super A3’ printer and you can create photo prints up to 19x13in (483x329mm). Top choices include Canon’s PIXMA PRO-100S and PRO-10S, which run on dye and pigment based inks respectively. The PRO-10S has a ‘chroma optimizer’ cartridge in its line-up, which enables unusually smooth output on glossy paper for a pigmentbased printer.

Use the printer properties dialog box to select the paper you’re using before creating photo prints

Set for success

There’s not much point in using the printer manufacturer’s photo paper if you don’t tell the printer what you’re feeding into it. For example, Canon makes Photo Paper Plus Glossy II, Pro Platinum glossy, lustre, matte and fine art papers, all of which require different amounts of ink for the best and most accurate results.

7 To dye for

There’s no beating dye-based inks for smooth output on glossy paper but some A3+ and larger printers run on pigment-based inks instead. These are generally better for printing on matte and fine art media, delivering better-looking and more robust, fade-resistant results. Additional grey inks are often featured, for enhanced fidelity in black & white photo printing.

Straight and narrow

The chances are that your new printer has been bounced around quite a lot in transit, between leaving the factory and arriving at your home. A print head alignment procedure normally forms part of the initial set-up routine, and it’s best not to skip this step if you want the sharpest-looking output. It can also be worth repeating the process every few months, to maintain optimum results. subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 January 2020

Printers like this Epson XP-8600 usually have menu options for maintenance routines 35

Technique

PRINTING

11 The away game

Faint lines across prints are a tell-tale sign of blocked nozzles. Run a cleaning cycle if required

9 Nozzle check

If you notice faint lines across your photo prints, it’s likely that some of the nozzles in the print head are blocked. Run a nozzle check routine from the printer properties dialog box, or onboard menu, and select a cleaning cycle if required. Stubborn blocks may require a ‘deep cleaning’ cycle, if featured.

‘Run a nozzle check routine from the printer properties dialog box’

Home printing is unbeatable for immediacy but there are advantages in having your prints created by an online lab. There’s much more choice in sizes and aspect ratios, typically ranging up to around 60x40in poster prints. You’ll also get a wider selection of finishes to choose from, often including acrylic, aluminium Dibond, boxed canvas prints and more. Our favourite labs for large-format printing include Loxley Colour (www. loxleycolour.com) and Whitewall (www.whitewall. com).

been 12 You’ve framed

Another plus point for getting your large-format prints created by an online lab is that many include mounting and framing services. You can therefore get the complete, finished product delivered to your door, ready to hang on the wall. Job done!

To ensure your photo prints look ‘right’, edit them for best effect and switch off any auto enhancements

14 Photo disenchantment

Many printers use a ‘photo enhancement’ mode by default, intending to make photo prints look their best. However, the results can sometimes look over-saturated, too high in contrast, or downright lurid. It’s generally better to edit your images so they have your desired brightness, contrast and colour rendition, and to switch off any enhancements.

If you use the Adobe RGB colour space for shooting and image editing, ensure that this is selected for printing as well

15 Colour space

Printers with pigment-based inks are often preferred for black & white photo printing, especially on matte media, but it can take several minutes for prints to become touch-dry

No touching

Photo prints that are created with dye-based inks on glossy paper are pretty much touch-dry even as they hit the printer’s output tray. That’s because the ink passes through the paper’s protective glossy covering before fixing into the paper. Even so, it’s best to let them dry for a few minutes before touching the surface. With larger molecules that remain on the surface of the paper, pigment-based inks take much longer to dry and are prone to smudging if you touch them within a few minutes.

The standard colour space for digital imagery is sRGB. The main alternative is Adobe RGB, which is often favoured by landscape photographers for its extended range in the cyan and green areas of the spectrum. Whichever you use, you’ll need to ensure that the printing colour space is the same as the working colour space, otherwise the results will be hugely inaccurate.

Speed kills

The standard photo print quality setting should enable rapid results and is generally fine for outputting postcard-sized prints in just a few seconds. When printing at A4, or larger sizes if you have a bigger printer, it’s worth switching to the best quality mode. Prints may take about twice as long to create, at around two minutes for most A4 printers, but the higher resolution enables more detail, better tonal definition and It’s worth switching to the best quality print setting when creating A4 or larger prints smoother colour gradations. 25 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Photo Stories

Whispering walls I

have listened to the bugle call of the Last Post ceremony in Ypres, heard birdsong echoing around the gigantic Thiepval Memorial to the Missing and seen massed ranks of headstones that literally stretch to the horizon. But the sight of graffiti left by soldiers on cave walls has been the most poignant experience of my many trips to the former battlefields of the First World War. A few weeks ago, as part of a photographic project, I gained access to a rarely visited network of secret tunnels and caves under the village of Bouzincourt on the Somme, dug in the 16th century as a refuge from pillagers. A passage leads down from the village church into the tunnels 12 metres below. I was handed a hard hat because the roof is so low that you have to crawl in some places. Our torches pierced the blackness to reveal scores of names, ranks and service numbers, intricate regimental insignia and portraits pencilled into the chalky rock, some so well defined that they might have been written yesterday – not 103 years ago. They tell stories of hope, fear, doggedness and pride. They are attracting increasing attention from archaeologists, historians and descendants of the soldiers who fought and died in the trenches above. Here, in 1916 during the Somme battle in which the British army lost almost 20,000 men on the first day alone, thousands of British, Canadian and Australian soldiers sheltered, sometimes for days at a time. ‘They knew they might die,’ said my guide, Jean-Luc Rouvillain. ‘I think they left these messages so that one day their children or grandchildren would come and see them.’ One poem written by a soldier from the Highland Light Infantry starts with the line: ‘Halt the Greys, Steady the Bays and let the HLI march past.’ Black humour rings out in the proclamation ‘Here’s joy forever’ etched into the wall. One cave was turned into a chapel with a small cross carved into the rock. Next to it, the words ‘Welcome Home’ are written. 38

Rouvillain, of the Bouzincourt heritage society, said 2,100 soldiers’ names have been found in the tunnels. All have been photographed and logged. There was no time to work with a tripod. I had to rely on a small LED light and put up with speeds as low as 1/10th of a second, so I shot series at 8 frames per second to make sure at least one would be sharp. I had to use ISO 3200. Thankfully, my camera was light enough to hold with one hand while I moved the light around with my other to pick out the messages.

Uncovered stories Like every headstone, each pencil inscription tells a story, but it does so more vividly because it was scribbled by a soldier who had dreams of a future and hopes of surviving the war – and who was well aware of the odds. When they wrote them, they didn’t know how their story would end. We do. Their fate is coming to light as research into Bouzincourt and other forgotten places intensiﬁes. A rectangle is carved into the wall to hold a postcard. Inside the rectangle is the number 4612 and the words ‘Pte D. McALPINE,’ ‘2nd HLI,’ ‘Wounded 3 times,’ and ‘Glasgow’. Tragically, the website of the Commonwealth War Graves Commission (cwgc.org) states that Private Daniel McAlpine of the 2nd Battalion, Highland Light Infantry, service number 4612, died on 16 July, 1917. He was 20 years old. He lies at Woburn Abbey Cemetery in Cuinchy, 60 kilometres north. Soldiers on all sides left grafﬁti. At Naours near Amiens, hundreds of Australian soldiers visiting the town’s underground city while on leave – as tourists, so to speak – wrote their names. Near Nouvron-Vingré, a French soldier carved a spectacular bust of the national symbol, Marianne. As I handed back my hard hat and dusted the chalk off my coat, I asked Monsieur Rouvillain what he found most striking about the treasure trove beneath his feet. ‘In all the writing and all the sculptures, there is no hatred,’ he said.

ALL IMAGES © DAVID CROSSLAND

A long-hidden treasure trove of graffiti by First World War soldiers proved to be a poignant photographic project by journalist David Crossland

David Crossland

French soldiers even carved out an elaborate altar room at Confrecourt Left: An impressive carving of Marianne, the French national symbol, found in the caves of Confrecourt near Nouvron-Vingré

Right: Equipment found in the tunnels. Villagers have found ammunition, helmets, rifles, tins for bully beef and jam, and even a toothbrush

David Crossland is a British freelance journalist and photographer living in Berlin. He has written three novels and is working on a non-fiction book on Western Front sites. The Bouzincourt photos were taken with a Fujifilm X-T30 and Fujinon 18-55mm lens. Illumination came from a small Aputure Amaran AL M9 LED light mounted on the hotshoe and occasionally handheld to provide oblique illumination. ISO was set at auto, maximum 3200. He says, ‘I left my DSLR at home for this trip and didn’t regret it.’

Below left: Descendants have been travelling to Naours to find traces of their Australian ancestors Below: Private Daniel McAlpine, of Glasgow, wounded three times. According to the Commonwealth War Grave Commission’s website, he died on 16 July, 1917. He was 20 years old

Technique

IN ASSOCIATION WITH

Dave Fieldhouse

An award-winning photographer from the Midlands, Dave specialises in landscape, street and architectural photography for magazines and corporate clients, See more at davefieldhousephotography.com or on Instagram and Twitter as @davefphotos

With so many geometric shapes the image needed to be ‘pulled’ back into shape.

Clone tool used to remove a passing airplane and some minor rain spots on the lens.

Behind the

Dave Fieldhouse takes us through the necessary steps needed to get this super-moody shot ready to print

spent my first few years behind the lens shooting traditional landscape images and was lucky enough to gain recognition in several national photographic competitions. Having found it difficult to always find time to escape to the hills, I diversified into street photography and shooting the man-made environment (or urban landscape, as I prefer to call them), something that fits more easily around my busy day job and location. I enjoy the variety in the genres I shoot, although I admit it often leaves my audience a little confused, wondering what’s coming next. One morning I could be shooting in a misty woodland, and later that day on top of a city centre rooftop waiting for the sun to go down. It sounds glamorous, but it’s not. What it is though is thoroughly enjoyable and I wish I had done it sooner. Currently I shoot entirely with Fujifilm X-series cameras and lenses, favouring their intuitive control and light weight. Perfect for long hikes in the countryside or shooting discreetly on the busy city streets.

Shadows would need to be lightened to show detail in the main focal areas.

While every care was taken to avoid hot-spots or blown highlights, it was almost inevitable with such a dramatic sky.

FOLLOW DAVE’S STEP-BY-STEP GUIDE

1 Frame the shot

I usually crop the image towards the end of processing, but in this instance, I wanted to see just how much of that bright sky would need to be dealt with further on. This was also where I corrected the horizontals and verticals, literally twisting the image into shape. 40

2 Lift the focal area

Protecting the highlights as best as possible resulted in an underexposed image. This suited the mood but meant that the shadows needed lifting in the key areas. I used the radial tool and added a little clarity to make the details on the buildings stand out more.

3 Balance the tones

I added graduated filters to darken both the top and the bottom of the image, with the intention of drawing the eye towards the centre of the shot. For extra effect I also introduced a faint vignette.

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Top tips for retouching

Calibrate your monitor

Not just once in a while, every month. This can prevent any nasty surprises when receiving prints from the laboratory or even when producing your own.

Process against white

Process against a white screen backdrop, not the default black or grey. This will help avoid an overly dark result that you might get away with on a digital screen but will suffer badly when printed.

Edit sensitively

Don’t go crazy with the sliders. Use them to create an image that looks attractive but realistic. Often the saying ‘less is more’ is very true.

Careful contrast

Contrast can make or break a shot but don’t go adding some that isn’t there or taking away what should be. Look to the conditions for guidance. Bright days will be naturally ‘contrasty’ with heavy shadows and bright highlights, whereas dull ones will be less so. Don’t fake it.

5 Edit twice

I often edit an image two or three times, saving each version as I go. It’s often a hybrid of the processed images that makes it to the ﬁnal printed version.

6 Paper choice

Choose a paper that suits the image. A sharp city scene like this would suit a smooth pearlescent or even gloss paper, whereas a misty woodland works nicely on a textured media. Make sure you soft-proof the image with the type of paper you intend to use in mind.

WhiteWall recommends

4 Deal with the noise

I had set the ISO at 800 to allow a handheld shot (because there was no time to set up a tripod). This added noise, which became a bigger issue when dragging the shadows back. Fortunately, the software is capable of dealing with this in most cases.

‘A stunning image deserves the perfect finish, and certain subjects lend themselves very well to specific products. For example, in this beautiful architectural photograph by Dave Fieldhouse, you couldn’t go wrong with WhiteWall’s Acrylic ultraHD Metallic Print. This would emphasise the reflections of the water and building. The pearly shimmer of the Fuji Crystal Pearl paper intensifies the luminosity of the colours and brings out the best in the contrasts. Complete this work of art by adding a black Aluminium ArtBox frame. Another glossy and durable option is our HD Metal Print. These prints are extremely robust, but low in weight, even in large formats. They are also water-resistant, meaning they are even suitable for sheltered outdoor areas.’ Jan-Ole Schmidt, Product Manager, WhiteWall.com

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Testbench

CAMERA TEST

At a glance

£5,300 body only ● 47.3MP full-frame sensor ● ISO 50-50,000 ● Up to 20fps shooting ● 5.76m-dot electronic viewfinder ● 3.2in 2.1m-dot touchscreen ● 5K video recording

Leica SL2

Leica’s high-end full-frame mirrorless model has a lot in common with the Panasonic S1R, but costs £2,000 more. Andy Westlake asks whether this is a premium worth paying For and against Superb image quality in raw Stripped-back, logical control set-up Fantastic build quality Extremely effective in-body stabilisation Excellent viewfinder Large and very heavy Non-articulated LCD ALL PR CES ARE APPROX MATE STREET PR CES

Unremarkable JPEG output (and no in-camera raw processing) Some controls are slightly awkwardly positioned Very, very expensive 42

Data file Sensor 47.3MP CMOS, 36x24mm Output size 8368 x 5584 Focal length mag 1x Lens mount / Lens Leica L mount Shutter speeds 30min - 1/8000sec (mechanical), 1sec - 1/40,000sec (electronic) Sensitivity ISO 50-50,000 Exposure modes PASM Metering Spot, centre-weighted, multi Exposure comp ±3 EV in 0.3 or 0.5 EV steps Continuous 10fps, 6fps with AF shooting Screen 3.2in, 2.1m-dot touchscreen LCD Viewfinder 5.76m-dot, 0.78x magnification AF points 225 Video 5K, 30fps; C4K, 60fps External mic 3.5mm stereo Memory card 2x SD, SDHC, SDXC; UHS-II Power BP-SCL4 rechargeable Li-ion Battery life 370 frames Dimensions 146 x 107 x 83mm Weight 915g inc battery

Thanks to Leica’s stunning lenses, the 47.3MP sensor records vast amounts of detail from corner to corner Leica SL 35mm f/2, 1/4000sec at f/8, ISO 100

eica was the second company after Sony to make a full-frame mirrorless camera, in the shape of the 24MP SL (Typ 601) in 2015. But a lot has changed since then: Sony has released a couple of increasingly reﬁned generations of its Alpha 7R series, and both Canon and Nikon have jumped into this market, too. In response, Leica has joined forces with Sigma and Panasonic to form the L-Mount Alliance, with its ﬁrst new camera as part of this venture being the updated SL2. Leica has a long and deeprunning cooperation with Panasonic, and as a result, the SL2 has a great deal in common with the Lumix S1R. Both are large, heavy SLR-style cameras that sport a 47.3MP full-frame sensor, 5-axis in-body stabilisation, a 5.76m-dot

electronic viewﬁnder with 0.78x magniﬁcation, and a large, sharp 3.2in, 2.1m-dot touchscreen LCD. Yet at £5,300 body-only, the SL2 costs almost £2,000 more than its L-mount cousin. We’re used to seeing a premium for the Leica red dot and ‘Made in Germany’ engraved on the baseplate, but what, if anything, do you gain in terms of photographic capability?

Features For most photographers, Leica is indelibly associated with its M-series rangefinders, which took the transition from film to digital in their stride while barely changing a design that originated in the 1950s. So it’s perhaps tempting to assume that the firm’s mirrorless models might be similarly conservative in their approach. But nothing could be further from the truth.

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The SL2’s 47.3MP full-frame sensor does without an optical low-pass filter to maximise detail, and teams up with Leica’s latest Maestro III processor to provide a sensitivity range of ISO 5050,000. Its 14-bit raw files are recorded in Adobe’s standard DNG format, which means they should open in almost any processing software (although you’ll need an up-to-date computer to handle the files). There’s no on-chip phase detection, but autofocus is provided at 225 points arranged across the entire frame. Continuous shooting is available at 10 frames per second with focus fixed at the start of a burst, or 20fps using the electronic shutter (but with the risk of rolling shutter artefacts and banding under artificial light). If you require autofocus and live view between

frames, the speed drops to 6fps. The fastest shutter speed is 1/8000sec, but the electronic shutter can be used to boost this to 1/40,000sec, allowing the use of large apertures in bright light. One particularly significant new feature is the addition of 5-axis in-body image stabilisation (IBIS). It’s rated to allow shooting handheld at shutter speeds up to 5.5 stops slower than would otherwise be possible, without image blurring from hand shake becoming apparent. In tune with Leica’s philosophy of stripping a camera back to its essentials, you don’t get a huge number of additional features. For example, there’s a comprehensive exposure bracketing control, but nothing along the lines of focus or white balance bracketing. Likewise you get an intervalometer, but no ability to generate time-lapse

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movies in-camera. The Auto ISO control lets you specify a minimum shutter speed or allow the camera to select it based upon the focal length, but this can’t be biased towards faster or slower speeds. There’s no in-camera raw converter, and fripperies such as subject-specific scene modes or image-processing filters are entirely absent. Videographers will, however, find plenty to like. The SL2 handles switching between stills and movie modes particularly elegantly, with a single button press activating an entirely independent camera set-up, including a video-tailored onscreen quick menu. It’s one of the few cameras capable of 4K (3840x2160) recording at 60fps, using almost the entire width of the sensor. Switch from MP4 to the MOV format and it can even record 5K video (4992x3744) in

a 4:3 aspect ratio at 30fps, along with Cinema 4K (4096x2160) at 60fps, albeit with a considerable field-of-view crop. But one glaring omission is any kind of screen articulation. Wi-Fi and Bluetooth are both on board for connecting the camera to your phone, using the free Leica Fotos app for Android and iOS. Unlike the SL, there’s no built-in GPS unit, but images can instead be geo-tagged using location data from your phone via the Fotos app. Set-up is done entirely using Bluetooth, which makes it particularly straightforward, and the camera can be paired with multiple devices at the same time. You can use your phone as a remote control, complete with live view and the ability to change the most important camera settings, and copy images across for sharing. I struggled to get this 43

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Testbench

The impressive IBIS system allows creative motion blur effects handheld Leica SL 50mm f/1.4, 0.6sec at f/8, ISO 100

working consistently using either Apple or Android devices, with the app often displaying no photos from the camera. But Leica says an update is on the way to fix this. Unusually, a paid-for ‘Pro’ version of Leica Fotos is available for an annual subscription (currently £18.49). It adds the option to copy DNG raw files across to your phone, remote control for video shooting, and for iOS users, Lightroom integration and an iPad-optimised version.

Build and handling The moment you pick up the SL2, it’s clear that this is no run-of-themill camera. It’s a big, bulky beast that’s considerably larger than most of its full-frame mirrorless peers, and similar in size and weight to a high-end DSLR. This is compounded when you consider the lenses: for example at 720g, the APO-Summicron-SL 35mm f/2 ASPH weighs more than Sony’s FE 35mm f/1.4 lens, while the Summilux-SL 50mm F1.4 contrives to weigh over a kilogram.

Image quality is very respectable at high ISO settings Leica SL 35mm f/2, 1/40sec at f/7.1, ISO 6400

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So if you want a mirrorless system to reduce the load on your shoulders, this really isn’t it. There’s a reason why the SL2 is so heavy, of course; its body shell is machined from two solid blocks of aluminium, and as a result feels like it would stop a bullet. The camera is certified to IP54 standards, meaning that it’s protected against dust and splashing water. It certainly proved itself during the course of my testing, withstanding a couple of hours’ shooting in heavy rain

without skipping a beat. While the original SL was somewhat uncomfortable to hold, the SL2’s handgrip is notably improved by the addition of a small indentation into which your fingertips naturally settle. The diamond-textured rubber coating provides a secure hold, and there’s a large clear space on the back for your thumb. Overall the SL2 follows much the same template as its predecessor, with a central electronic viewfinder and fixed rear touchscreen. Its pared-back design reduces external controls to the essentials, with twin electronic dials to change exposure settings, an AF-point joystick, and just a smattering of buttons. But in a very welcome move, the rear control layout adopts a simplified and more intuitive approach that’s similar to Leica’s other recent cameras. A monochrome top-plate OLED screen is on hand to help the user keep track of the essential photographic settings. While the rear dial is embedded conventionally into the body within easy reach of your thumb, the large wheel on the top-plate is more unusual, although it works well enough once you get used to it. There’s no exposure mode dial – instead, you click the rear dial inwards and rotate it to cycle through the P, A, S and M modes. One of the dials can 45

Testbench

CAMERA TEST

Focal points The SL2’s blocky, angular body is sparse on the controls, but packs in a good array of features

User Profiles

Up to six custom camera set-ups can be saved, and best of all, given meaningful names for easy recall – something that’s sorely missing from most other manufacturers’ cameras.

L-mount

83mm

The SL2 is compatible not just with Leica’s own SL lenses (and TL lenses in APS-C crop mode), but also an increasing range of Panasonic Lumix S and Sigma L-mount lenses. Canon EF-mount lenses can also be used via Sigma’s MC21 adapter, but with some AF limitations.

Dual cards

This monochrome display shows the exposure mode, shutter speed, aperture, ISO, remaining card capacity and battery status.

Connectors

In a welcome advance over the SL, microphone and headphone sockets are built-in, alongside USB-C and full-size HDMI ports. Both audio sockets can also accept the optional RC-SCL6 wired remote release, as it uses a 3.5mm connector.

107mm

Both card slots support the high-speed UHS-II standard. They can be used sequentially, to back-up files to both cards, or to split JPGs to one and DNGs to the other.

OLED panel

146mm

Power

The neatly designed BP-SCL4 battery fits flush to the base plate, with no separate compartment door. It’s good for 370 shots per charge, and can be topped up either externally, or through the USB-C port. 46

be used to set exposure compensation directly; indeed you can specify which for the P, A and S modes independently. If you wish to use exposure compensation with Auto ISO in manual mode, simply assign it to one of the function buttons. To this end there are five programmable buttons arranged around the body, whose functions can be easily reassigned by holding them down for a second. The one beside the LCD, labelled Fn, cycles through onscreen information display modes, and I preferred to leave it this way. There are two more on the top-plate behind the front dial; by default one toggles between stills and video shooting, while the other is used for setting ISO. This requires a substantial shift in grip to press, but I found it less annoying in real-world use than I expected. The other two are placed on the front plate beneath your third and fourth fingers, and are the most obvious to configure to your personal preferences. The well-placed joystick is used to navigate menus and position the autofocus point. It can also be clicked inwards to activate autofocus, even when the camera is set to MF, which can be handy for ‘one-shot’ focusing. If you prefer, it can be set to various combinations of AF and AE lock, or to activate focus magnification in MF mode, which is great for working with manual lenses. However Leica has missed a trick, as it’s not capable of moving the AF area diagonally, which slows things down when you have so many focus points to choose between. One thing the firm has got right, though, is its onscreen quick menu for changing secondary functions, which is accessed by a press of the menu button and nicely integrated into the camera’s touch interface. A second tap of the button takes you into the main menu, which is refreshingly comprehensible. This all makes the SL2 much more conventional than its predecessor, and once you’ve got it set up to your liking, it’s far more pleasant to use. Indeed it’s the kind of camera that gets out of your way and becomes second nature to work with. However I wouldn’t say it’s clearly better than its closest peers, the Lumix S1R, Nikon Z 7 or Sony Alpha 7R IV, which are also highly refined.

Viewfinder and screen One standout feature of the SL2 is its viewfinder; indeed its 5.76m-dot EVF is one of the best I’ve ever used. It’s large, bright and incredibly detailed, with key exposure data overlaid on black bars above and below the preview image. The standard 60fps refresh rate can be boosted to 120fps to give smoother rendition of fast-moving subjects, and you can overlay gridlines, an electronic level, and an unobtrusive live histogram. By default the camera will preview the exposure, but you can turn this off in manual mode for use with studio flash. One surprising oversight, however, is that there’s no apparent way to engage a depth of field preview. A sensor above the eyepiece switches automatically between the EVF and screen. At 3.2in and 2.1m dots, the rear LCD is also large and detailed, while being extremely responsive to touch. However it’s disappointing to see a screen without any form of articulation, especially given the usefulness of the Panasonic S1R’s triple-hinged unit for shooting at unusual angles.

Autofocus Leica describes the SL2’s AF system as being based on ‘contrast metering and depth mapping’, which sounds very much like Panasonic’s Depth from Defocus technology. In practice it behaves in much the same way too, with far greater decisiveness than is usually displayed by simple contrastdetection autofocus. A comprehensive set of focus options is available, with the default Smart AF mode automatically detecting subject motion and switching between single-shot and continuous modes accordingly. I found it got things right most of the time, but it’s also possible to select the AF-S and AF-C modes manually. You can allow the camera to choose the focus point itself, but I suspect most users will prefer to specify this manually. The standard-size AF area is ﬁne enough for most purposes, but there’s also a spot AF option for pinpoint focusing. Alternatively you can select a wider-area zone mode, which makes it easier to follow moving subjects. Object tracking and face detection modes are also on offer. In C-AF mode, the SL2 gives the kind of control over

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Here the sensor’s vast dynamic range allowed me to balance the foreground against a sky that was really much brighter Leica SL 35mm f/2, 0.8sec at f/2, ISO 100

its behaviour that was once the preserve of high-end DSLRs, including use-case settings for specific types of subjects. Unfortunately, with just 35mm and 50mm primes to hand, I wasn’t able to give its C-AF system a really serious workout. Even so, it’s clear that the SL2 can’t keep up with the best of its rivals when faced with fast-moving subjects, delivering fewer in-focus frames, meaning it’s not the best choice for sports or action work. But with static or slow-moving Leica’s SL lenses combine phenomenal sharpness with lovely background blur Leica SL 35mm f/2, 1/60sec at f/4, ISO 1250

subjects, it’s quick, silent and impressively accurate, and only starts to struggle in very low light. For manual focus you get a familiar array of aids. Live view magnification can be engaged automatically when you turn the focus ring on native L–mount lenses, or manually using a function button. Alternatively a peaking display is available by pressing the Fn button. It all works very well, which is good news for those who wish to use M-mount lenses using a mount converter.

Performance In practical use the SL2 delivers phenomenal image quality, and if you can put up with its size and weight, it’s also pretty pleasant to shoot with. It takes a moment to start up after you flick the power switch, but from then on it’s quick and responsive to all of the controls. I found that when shooting in raw, the camera was capable of rattling off 27 frames in a burst before slowing down. If you’re happy with JPEGs only, it’ll keep on going almost indefinitely.

Leica’s metering is pretty reliable, and it’s easy to see in the viewfinder if you need to apply any exposure compensation. However, the rather neutral Standard colour rendition isn’t as attractive as the punchier JPEG output you get from some rival brands. There’s also no dynamic-range expansion option to balance shadow and highlight detail, and the auto white balance can be a little hit-andmiss under mixed lighting. As a result, processing raw will generally give much more attractive images. Black & white shooters, on the other hand, may well find Leica’s Monochrome High Contrast option pleasing. Mention must be made of the 5-axis in-body stabilisation, which works impressively well. Using the Leica SL 35mm f/2 lens I was able to get consistently sharp images handheld at shutter speeds of 1/2sec, which I’d consider to represent about five stops of stabilisation. This allows you to make creative use of motion blur, or to keep the ISO low in fading light to minimise noise and maximise dynamic range. One unfortunate characteristic is that the sensor seems unusually prone to attracting dust, and I took to carrying a small air blower to give it a periodic clean. Battery life is reasonable enough, and can be usefully boosted by setting the displays to turn off after ten seconds of inactivity.

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CAMERA TEST

Lab results

Testbench

Verdict

Andrew Sydenham’s lab tests reveal just how the camera performs

Our cameras and lenses are tested using the industrystandard Image Engineering IQ-Analyser software. Visit www.image-engineering.de for more details The SL2 incorporates one of the best sensors around, and at low ISOs its raw files include stacks of detail and vast dynamic range, with lots of additional information recoverable in the shadow regions during raw processing. At high ISOs, noise is kept reasonably low considering the pixel count, and I’d shoot at up to ISO 12,500 with no qualms. It’s not just the sensor that matters here; close examination of image files reveals that Leica’s SL lenses are almost flawless. This ultimately is the pay-off for the system’s price and weight.

Recommended

Resolution At ISO 50, the SL2 records about 5,400 lines per picture height, which is exactly as much as we would expect. However the lack of a low-pass filter results in some false colour and aliasing. Initially, resolution barely decreases as the sensitivity is raised, and it’s only at RAW ISO 50

ISO 3200 that we see any significant drop-off, to around 5,000 l/ph. Above this, noise has an increasing impact, but even at ISO 12,500 we still register 4,400 l/ph. At the top ISO 50,000 setting, 4,000 l/ph matches the best that 24MP cameras can offer even at low ISO. RAW ISO 3200

RAW ISO 12,500

RAW ISO 50,000

Below we show details from our resolution chart test pattern (right). Multiply the number beneath the lines by 200 to give the resolution in lines per picture height.

Noise Examination of DNG files converted using Adobe Camera Raw reveals impressive levels of detail and barely any visible noise at the lowest ISO settings. However, it’s important to understand that highlight detail clips to pure white more quickly at ISO 50 than at ISO 100. Initially there’s minimal drop in quality as the ISO is raised, with just a little luminance noise appearing at ISO 1600 when examining images close-up onscreen. By ISO 6400 noise has overwhelmed really fine detail, but I’d still use ISO The crops shown below are taken 12,500 without hesitation for smaller output sizes. However I’d avoid the from the area outlined above in red top two settings altogether as they give much poorer results. RAW ISO 50

RAW ISO 1600

RAW ISO 6400

RAW ISO 12,500

RAW ISO 25,000

RAW ISO 50,000

IT’S ALWAYS difficult to assess Leica cameras, as the firm operates to different rules than the big Japanese manufacturers. It’s not trying to be a mainstream player, but instead attract a niche, high-end audience. What, then, to make of the SL2? If we put aside the question of price, it’s clearly a very accomplished camera that in most respects holds its own against other high-resolution full-frame mirrorless models. It records stunning detail and dynamic range, has a fabulous viewfinder, and benefits from effective 5-axis stabilisation to make the most of its high-resolution sensor. Its design may veer more towards the quirky than the conventional, but once you’ve spent some time getting acclimatised, it actually works very well. Objectively, this is a very impressive photographic tool. However, none of this affords a rational reason for the vast majority of either serious enthusiast or professional photographers to choose it ahead of the likes of the Nikon Z 7, Panasonic Lumix S1R, or Sony Alpha 7R IV. All boast much the same set of positive attributes, but for at least £2,000 less, body-only; the Sony and Nikon are also both considerably lighter in weight. All can be teamed up with a set of high-quality, thoroughly modern lenses – indeed the S1R uses exactly the same L-mount optics as the SL2. As a result, the attraction of the SL2 comes down to intangibles that can’t be found on a spec sheet. Instead it’s all about the stripped-back design aesthetic, the bomb-proof build quality, Leica’s reputation for peerless optics, and doubtless for some users, simply the prestige of the red dot. It’s really not a camera for most photographers, but for those who can convince themselves it makes sense, it should certainly deliver fantastic results.

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7/10 9/10 9/10 7/10 7/10 9/10 9/10 9/10 49

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Brushes and blowers with properties that lift dust and other non-oily materials away easily. Versions available for every sensor size regardless of camera brand. A range of blowers from a simple version to fully filtered, anti-static with dust free air ejection measures are available to suit your needs.

HEAVIER CLEANING NEEDED n Wet cleaning.

Liquids specifically designed and manufactured to remove greas oil, pollen, fingerprints etc whilst still being safe for your precious sensor. When used in conjunction with the correct swab they make light work of removing matter that would otherwise degrade your image. With the current popularity of mirrorless cameras and their potential for the ingress of dirt and foreign bodies due to lack of a mirror, keep these products in your gadget bag ready for use.

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The range of EZ kits bring together everything you need to ensure complete cleaning of your cameras sensor. Kits are available to tackle all of the various cleaning jobs you may have to carry out. They are colour coded BLUE for light cleaning, GREEN for everyday cleaning and RED for heavy cleaning. Kits available in all popular sensor sizes, and as with all VisibleDust products, they are suitable for all camera brands and sensors, with or without anti-aliasing filters.

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Store and protect your mirrorless camera, lens or accessory from dirt scratches. They can be placed within a larger camera or casual bag, providing protection and quick access to the equipment at all times. Available in 3 different sizes they can be configured to carry two bodies, three lenses or a combination of body and lens. ACAM-60N shown, ACAM-61N & ACAM-63N are alternatives.

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Casual Cord Camera Straps Made by traditional methods with the same care and precision of our silk straps, this new range offers photographers a colourful and comfortable way to carry their cameras. Available in the colourways shown, they are also available in 2 different lengths. ACAM-701 shown, ACAM-706 also available.

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USED CAMERAS

Testbench

SECOND-HAND CLASSIC

Sony Alpha 7R

We revisit Sony’s first high-resolution full-frame mirrorless camera

ix years have passed since Sony entered the full-frame mirrorless market. The original Alpha 7R, which was unveiled at the same time as the Sony A7 in October 2013, was very different to other cameras at the time. Not only did Sony demonstrate that it’s possible to squeeze a high-resolution 36.4-millionpixel full-frame CMOS sensor into a camera smaller and lighter than a Leica M-series digital rangeﬁnder, they managed to do so at a fraction of the cost. Priced at £1,699 (body only) it was also cheaper than one of its closest rivals – the Nikon D800. Key features included an ISO range of 50-25,600 and a 25-point contrast-detect autofocus system. At the rear of the Alpha 7R a 2.36-million-dot EVF is found above a tilting 3in, 921k-dot screen. The body is also sealed against moisture and dust.

What we said

● ‘DSLR users will ﬁnd the A7R a very intriguing prospect’. ● ‘The Alpha 7R could be described as functional rather than stylish.’ ● ‘The A7R is within reach of many, and is more affordable than the Nikon D800.’ ● ‘Images taken between ISO 50 and ISO 1600 are perfectly usable.’ ● ‘The Sony Alpha 7R is good enough for most situations, except sports or wildlife.’

GOLD The short flange back distance of the E mount allows a wide range of DSLR lenses to be attached via adapters

This overhead view shows how the handgrip was sculpted in the early days of the A7-series

What to pay

Type Sony Alpha 7R into the search bar on www.mpb.com and you’ll be able to check the availability of second-hand stock in an instant. When we checked there was an A7R being sold in good condition for £614. Meanwhile, well-used examples of the A7R with signiﬁcant cosmetic signs of use currently fetch around £464. There was one well-used example of the A7R available when this issue went to press.

The A7R’s movie record button is inconveniently positioned above the memory card door

How it fares today New alternatives

Sony’s A7R series has come a long way from the original A7R. That said, a lot of photographers still swear by the A7R, which as long as you know its pitfalls, can produce great images bursting with detail. Its focusing is lethargic in low light, it lacks in-body image stabilisation (IBIS) as you get on newer A7-series models and you must be wary of shutter shock as there’s no electronic ﬁrst curtain shutter available.

Since the A7R, we’ve seen the A7R II, A7R III and A7R IV arrive. The A7R IV claims the title of having the highest resolution sensor (61MP) of any full-frame camera and inherits powerful features from the Sony Alpha 9. With a 15-stop dynamic range, 10fps burst shooting, cuttingedge AF system, in-body image stabilisation (IBIS) and 4K video, it’s as good as high resolution cameras get right now.

See over to find out what Sony A7R owners have to say subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 January 2020

At a glance

£464-614 body only (via www.mpb.com) ● 36.4-million-pixel full-frame

CMOS sensor ● ISO 50-25,600 ● Sony E mount ● Full HD video at 60p ● NFC and Wi-Fi connectivity

For and against + Resolution and image quality for the price

+ Lightweight construction + Ability to use a variety of different

adapters and lenses + Large selection of E-mount lenses - Contrast-detection AF only - No electronic front curtain shutter - Poor battery life (340 shots with LCD) - Single SD card slot 51

IN ASSOCIATION WITH MPB | WWW.MPB.COM Freshwater pond, Cairngorms, Scotland Sony A7R, Samyang 100mm F2.8 ED UMC Macro lens, 1/15sec at f/11, ISO 100

What the owners think Three Sony Alpha 7R users give their verdict

Mark Banks As a professional landscape photographer, my equipment has to earn its keep, which is why I still use the Sony A7R for all my professional work. I’ve been committed to mirrorless cameras since 2008 when I purchased the Panasonic G1. However, I upgraded to the Sony when I realised I could attach a tilt/ shift adapter to it and use my older (Nikon F-mount) Carl Zeiss 25mm and 50mm lenses. This allows me to alter the plane of focus that I could only previously implement with my largeformat view camera in days

gone by. My equipment does get battered and I must say the Sony has been through many punishments since purchasing it in early 2014, yet it hasn’t missed a beat and the quality of images it produces still blows me away. The only sign of wear and tear is that the rear screen has tarnished, probably caused by my sunscreen when looking through the viewﬁnder during the summer months. The A7R has undoubtedly been the best camera I’ve owned. See more images at www. markbanksphotography.com.

Gregory Knowles

As a landscape photography enthusiast and self-confessed pixel peeper I have always been drawn to camera systems capable of resolving large amounts of detail. As with many enthusiasts, budget has been a constraint to

the choice of equipment available and appreciably one has to make compromises. As such my aim was to put together a full-frame system for landscape with a selection of lenses in the focal length range of 18mm through to 200mm for £1,000. Having used

For and against + Great picture quality + Small and lightweight – Screen can tarnish with age – Shutter can cause shake on longer lenses a wide variety of equipment over the past decade I have found myself using the Sony A7R as my main body. The high pixel count, lack of AA ﬁlter and admirable dynamic range was a huge draw and the resulting quality from the 36.4MP sensor © GREGORY KNOWLES

Greg swears by his A7R for his love of landscapes Sony A7R, Sony FE 24-70mm f/4 ZA OSS Carl Zeiss T* lens, 1/25sec at f/11, ISO 100 52

speaks volumes as to what a fantastic system it was when ﬁrst released in 2013 and how it has so far stood the test of time. Like most cameras there are a few negatives to take into account, which include its loud shutter, below-par battery life, ISO performance against newer models and lack of autofocus when attaching and using legacy lenses. If you already have an established collection of goodquality lenses, then for circa £500 for a used body and adapter you can be conﬁdent that you will be able to produce exceptionally high-quality images that still compete today. Needless to say, I’m a fan of the A7R and would recommend it to others working to a strict budget. More of my images can be viewed on Instagram gregknowlesphoto.

For and against + Very affordable today + Resolves magnificent detail – ISO performance against newer models – Shutter slap is off-putting when working discreetly 25 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Testbench

Creag Dhubh, Cairngorms, Scotland Sony A7R, Metabones adapter, Carl Zeiss Planar T* 50mm f/1.4 ZF.2 lens, 1/250sec at f/8, ISO 100

Richard Sibley

It’s starting to look a bit beat up around the edges. It has no IBIS (in-camera stabilisation). I still occasionally get lost in the menu and I’ve replaced the LCD laminate after the original one started to bubble and peel away. The original eyepiece is on a hill in the Peak District somewhere and the camera and the 11 batteries I have for it live with me in London. Oh, and the shutter. I once had to stop shooting a friend’s wedding with the A7R and switch to using the Sony RX100 as the clatter of shutter was distracting everyone in the room. Despite all of the above, the Sony A7R still comes with me on almost every trip away. More than ﬁve years since its release, its 36.4-million-pixel sensor still holds its own against most of the competition. For landscapes I can expose for the highlights and recover impressive shadow detail, so much so that I can often forgo using ND grad ﬁlters. The body is slightly thinner than the contemporary A7 cameras, and I often pair it with the Sony Zeiss 35mm f/2.8 lens as

Ladybower Reservoir, Peak District Sony A7R, Sony FE 24-70mm f/4 ZA OSS Carl Zeiss T* lens, 1sec at f/8, ISO 200

my small ‘throw it in a bag’ travel camera. With the resolution, dynamic range and size and weight being what they are, I can see the A7R coming on many more journeys with me for the foreseeable future. More of my images can be viewed on Instagram richsibley.

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For and against + Brilliant travel camera + Excellent dynamic range – Loud shutter – Poor battery life

Trade in and upgrade your set-up for the perfect shoot, every time. Buy, sell and trade in your photo and video gear with MPB. It’s quick, easy and secure. www.mpb.com 53

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ACCESSORIES

Vanguard Veo Range 36M Andy Westlake tries out a remarkably versatile messenger-style bag

Testbench At a glance ● Dual-mode shoulder bag ● Internal tripod compartment

Rain cover

An all-over cover is included to protect your kit from downpours, and stows away in the full-width rear zipped pocket.

● Pocket for 13in laptop ● 40 x 30 x 19.5cm (external)

ALL PRICES ARE APPROXIMATE STREET PRICES

● £79 ● www.vanguardworld.co.uk WHEN we think about shoulder bags, the word ‘innovation’ doesn’t usually spring to mind. There may be plenty of differences in materials and styling, but most follow the same basic layout. Which is why it’s refreshing to come across something as inventive as the Vanguard Veo Range 36M. At first sight, this looks like just another Trolley strap traditionally styled canvas bag. But a A slim strap on the back can full-width horizontal divider separates it into be slipped over the handle of two compartments, one accessed from the a roller case for easy top for your camera kit, and the other transportation. through a flap on the front. This gives it the unusual ability to accommodate a travel tripod up to 33cm long internally. Alternatively this space can be used for a long telephoto lens, or configured to hold other kit using movable dividers. The flipside is that the top section isn’t very tall, at just Media pockets 12.5cm. But it’ll still take a small mirrorless body with Two flat pockets on the front a short zoom onboard, and two or three more lenses. can be used for memory cards However, the bag has another trick: that horizontal or small batteries, and are divider can be folded down to form a more marked green for fresh and conventional interior space. Now, doubling-up dividers red for used. vertically allows it to accept a larger camera kit, with space for a full-frame DSLR with standard zoom attached, plus a large telephoto such as a 100-400mm or 70-200mm f/2.8, and a couple more lenses. In this mode you can The bag allows for a tripod to still easily strap a tripod onto the front. be strapped to the front Other handy features include a rear zipped document pocket, an internal padded compartment for a 13in laptop (or your latest copy of AP), and a pocket in the lid that’s perfect for your lens caps. Security is a particular strength: End pockets once you’ve loaded the bag, the top Elasticated foldaway flap can be closed using zips, Velcro pockets at each end can and two front clip straps. Yet you can still hold an umbrella or small easily access your gear via a hidden top zip water bottle. opening. The wide shoulder strap has a large, grippy sliding pad that makes the bag comfortable to carry even when heavily loaded, and there’s also a grab handle for carrying it like a briefcase. As usual from Vanguard, there’s nothing to complain about in terms of materials and construction. The bag is made from quality nylon canvas with a soft lining, and TRIPOD INSIDE is generously padded. If you don’t like the khaki colour Vanguard makes several more shoulder bags of our review sample, a navy blue option is available.

Verdict Vanguard has really come up trumps with the Veo Range 36M. It’s an incredibly versatile, attractive and well-made bag that represents excellent value for money.

GOLD

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that will hold a tripod internally. The Veo Range 38 (£89) is a larger version of the 36M that’s designed for DSLRs, while the Veo Go 38, right, and Veo Discover 34M (both £70) are smaller bags with end-loading tripod compartments. See Vanguard’s website for full details.

Tech Talk Tony Kemplen on the É

Braun Paxina 29

A German post-war medium format camera with a pull-out lens

fter the Second World War, various German firms resumed camera manufacturing to cater for a growing market. The1950s was the decade that started to see the growth in popularity of 35mm cameras over medium-format models, and Carl Braun Camerawerk of Nuremberg had a foot in each camp. Its two main ranges were the 120 format Paxinas and the 35mm Paxettes, the latter running to around a dozen models, with varying degrees of sophistication, the better models having interchangeable lenses and coupled rangefinders. There were fewer variants of the Paxina, and this one, the Paxina 29 from around 1955, is at the top end of the range. For this type of camera, it sports a very fast lens, the aperture of f/2.9 being alluded to in the camera’s name. There’s no getting around the fact that a medium-format camera is going to be bigger than a 35mm one, but there are a number of ways in which a roll film camera can be made more

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The Paxina 29, at the top end of the range, dates from around 1955

pocketable. The use of bellows is a tried and tested way of folding up an otherwise unwieldy camera; even prize beasts like the Kodak 3A, which measures 25cm front to back when open, slims down to a more manageable 3cm when folded. Although bellows were used on both cheap and expensive models, at the bottom end of the market, simpler solutions, such as a lens tube which could be telescoped down into the body, were often used instead.

Lens mechanism

Poor daylight wasn’t a problem in this image taken with Tony’s Paxina 29

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With the Paxina, the lens is pulled out from the body and then twisted to lock it in place. There is a mechanism to prevent the shutter being ﬁred until the lens is fully extended, as if you forgot to extend it, the photos would be severely out of focus. Often with cheap cameras, you can be fairly relaxed about focusing, as the maximum aperture is generally quite small, and unless you’re shooting close-ups, the generous depth of ﬁeld is quite forgiving. A little more precision is required

‘For this type of camera, it sports a very fast lens’ with an f/2.9 lens, and there’s no built-in rangeﬁnder, so you have to pay attention when setting the focus using a scale. With the fast lens, I didn’t need to worry about poor daylight when I photographed this brick mural on a dull October day in Shefﬁeld. I’m trying to limit my acquisition of ‘new’ cameras now, but sometimes I can be tempted. Recently I spotted a shabby leather case on a table at a car boot sale, and also noticed the Braun logo embossed on it. I already have a basic Paxina and expected that this would be another of the same, but I’m glad I took a closer look, because I wasn’t previously aware of this one. Cosmetically it’s not in top form, but the lens is clean and the shutter works as it should, albeit with a modest four speeds, plus ‘B’. All in all the £5 that I paid seems well spent; they generally go for at least twice that on eBay.

Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. See more photos from the Paxina 29 at www.ﬂickr.com/tony_kemplen/sets/72157711496251557. subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 25 January 2020

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Digital Photography CANON EOS 6D MK2 BODY COMPLETE LOW USE ��MINT- BOXED £895�00 CANON EOS 7D BODY��MINT- BOXED £275�00 FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE��MINT BOXED £295�00 FUJI XT-2 BODY COMPLETE WITH ALL ACCESSORIES ��MINT BOXED £595�00 FUJI XT-2 WITH FUJI 18-55mm OIS LENS COMPLETE��MINT BOXED £795�00 FUJI X10 WITH CASE, HOOD & FILTER ��MINT £199�00 FUJI XT 10 BODY WITH CHGR, 2 BATTERIES �� MINT-BOXED £265�00 FUJI 23mm f1�4 R XF FUJINON LENS�� MINT-BOXED £499�00 FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW) ��MINT CASED £399�00 FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��MINT BOXED £195�00 NIKON D3S BODY WITH BATT AND CHARGER��MINT--BOXED £595�00 NIKON D3 BODY WITH BATT AND CHARGER��EXC++ £299�00 NIKON D7200 BODY COMPLETE LESS THAT 100 ACTS��MINT BOXED AS NEW £545�00 NIKON D800 BODY ONLY 7144 ACTUATIONS �� MINT-BOXED £675�00 NIKON D600 BODY WITH 2 BATTS,CHGR�� MINT- £499�00 NIKON D7000 WITH CHARGER, BATT Etc ONLY 6334 ACT MINT-BOXED £269�00 NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS��MINT £175�00 NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II�� MINT- £175�00 NIKON D300S BODY + BATT GRIP, BATT & CHARGER��EXC++ £245�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT-BOXED £195�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT- £179�00 NIKON D90 BODY WITH 2 BATTERIES AND CHARGER �� MINT- £175�00 NIKON MB-D12 BATT GRIP FOR D800/D810�� MINT- £75�00 NIKON ML-3 REMOTE CONTROL SET��MINT BOXED £145�00 OLYMPUS OM-D E-M10 MK 2 WITH 14-42 ZUIKO LENS��MINT £245�00 OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS��MINT CASED £325�00 OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD�� MINT-BOXED £465�00 OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD ��MINT BOXED £225�00 OLYMPUS 75 - 300mm f4�8/6�7 MK 2 M ZUIKO ED ��MINT BOXED £385�00 OLYMPUS MMF-3 ADAPTOR FOR 4/3 rd LENSES ��MINT BOXED £145�00 OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM��MINT £95�00 PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS��MINT BOXED £145�00 SONY DSC-RX100 WITH ERC CASE �� MINT-CASED £199�00 SONY 18 - 250mm f3�5/6�3 A/F DT LENS��MINT BOXED £325�00 SIGMA 30mm F2�8 DN MICRO 4/3RDS��MINT BOXED £115�00 SONY ECM - XTST1M STEREO MICROPHONE�� NEW UNUSED £69�00 METZ 44A/F1 FLASH UNIT FOR SONY DLSR��MINT BOXED £95�00

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Binoculars LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE �� MINT- £595�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN �� MINT-CASED £275�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK �� MINT-CASED £279�00 KOWA BD 10x25 DCF COMPACT ROOF PRISM BINOS ��MINT CASED £165�00 OPTICRON MMS 160 IMAGE STABILISED TRAVELSCOPE��MINT BOXED £225�00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS �� NEW UNUSED £1,575�00 SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS�� MINT- £465�00

Medium & Large Format HASSELBLAD X PAN II WITH 45mm, STRAP, MANUAL��EXC+++BOXED £3,750�00 HASSELBLA X PAN LEATHER EVER READY CASE �� MINT- £225�00 HASSELBLAD 30mm f5�6 ASPH & FINDER & C/FILTER�� MINT-BOXED £2,475�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER��MINT BOXED £495�00 HASSELBLAD 500CM WITH 80mm cm AND LATE BACK �� MINT- £1,195�00 HASSELBLAD 28mm f4 HC FOR H SYSTEM��MINT BOXED £1,075�00 HASSELBLAD 120mm f4 HC FOR H SYSTEM��EXC++ £1,195�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER��MINT £365�00 HASSELBLAD 150mm f4 SONNAR T* BLACK��EXC++ £195�00 HASSELBLAD 150mm f4 SONNAR CF�� MINT-BOXED £395�00 HASSELBLAD 150mm f4 SONNAR SILVER ��EXC++ £175�00 HASSELBLAD 250mm f5�6 SONNAR SILVER ��EXC+ £179�00 HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR��MINT BOXED £2,995�00 HASSELBLAD GPS UNIT FOR H SYSTEM ��MINT BOXED £399�00 HASSELBLAD H13 EXT TUBE ��MINT £165�00 HASSELBLAD PM90 PRISM FINDER �� MINT- £275�00 HASSELBLAD PME3 METERED PRISM FINDER �� MINT- £275�00 HASSELBLAD VFC-6 METERED PRISM��MINT BOXED £175�00 HASSELBLAD A12 BACK CHROME�� MINT- £129�00 HASSELBLAD WINDER CW AND REMOTE��MINT £275�00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS��EXC++ £325�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS ��EXC++ £295�00 BRONICA AUTO EXTENTION TUBE E-14��MINT BOXED £45�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ��MINT BOXED £59�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��MINT £75�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��EXC++ £59�00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC�� MINT- £75�00 BRONICA MOTOR WINDER E��EXC+++ £89�00 BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi��MINT £179�00 BRONICA 50mm f2�8 PE FOR ETRS/ETRSi��MINT £199�00

BRONICA SPEED GRIP FOR ETRSW/ETRSi�� MINT- £49�00 BRONICA 150mm F3�5 ZENZANON S�� MINT- £165�00 BRONICA PLAIN PRISM FOR SQAi/SQA�� MINT- £99�00 BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ�� MINT- £199�00 BRONICA 65mm F4 ZENZANON PS FOR SQ�� MINT-CASED £145�00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �� MINT-CASED £365�00 BRONICA 150mm F4 PS ZENZANON FOR SQ�� MINT-CASED £145�00 BRONICA 180mm f4�5 PS LENS & CASE �� MINT-BOXED £199�00 BRONICA SPEED GRIP FOR SQA/SQAI�� MINT- £69�00 BRONICA FILMBACK SQ-i220 FOR SQA/SQAi��MINT BOXED £79�00 METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA��MINT BOXED £150�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £199�00 MAMIYA 135mm f4�5 SEKOR FOR C220/33 etc��MINT CASED £150�00 MAMIYA 180mm f4�5 SEKOR FOR C220/330 etc��MINT CASED £145�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ��MINT £365�00 MAMIYA M645J COMPLETE WITH 80mm f2�8 �� MINT- £299�00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC�� MINT-CASED £365�00 MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ��MINT £299�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ��MINT £145�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £295�00 MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��MINT £199�00 MAMIYA 250mm F4�5 LENS FOR RZ �� MINT- £195�00 MAMIYA 210mm F4 SEKOR C FOR 645��MINT CASED £195�00 MAMIYA 180mm F4�5 SEKOR FOR RB��MINT £169�00 MAMIYA 220 BACK FOR RZ 67�� MINT- £95�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD �� MINT- £199�00 PENTAX 55mm F4 SMC FOR 6X7 ��MINT £175�00 PENTAX 55mm F2�8 FOR PENTAX 645��MINT BOXED £199�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008�� MINT- £575�00 YASHICA 124G TELEPHOTO AUX LENS SET�� MINT- £69�00

Nikon Auto-Focus & Digital, Lenses Accessories NIKON F5 BODY�� MINT- £499�00 NIKON F4 BODY��EXC++ £345�00 NIKON F4S BODY WITH MANUAL�� MINT- £395�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE��MINT BOXED £345�00 NIKON 28mm f2�8 A/F��MINT £125�00 NIKON 28mm f2�8 A/F “D” ��EXC+++ £145�00 NIKON 35mm f1�8 “G” ED AF-S L��MINT + HOOD £325�00 NIKON 35mm f1�8 “G” DX AF-S LATEST�� MINT+HOOD £115�00 NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD��MINT £189�00 NIKON 50mm f1�4 A/F��EXC++ £125�00 NIKON 50mm f1�4 “G” AF-S SWM�� MINT- £225�00 NIKON 50mm f1�8 “G” AF-S WITH HOOD��MINT BOXED £139�00 NIKON 85mm f1�8 A/F�� MINT- £165�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�� MINT- £399�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��MINT BOXED £395�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S�� MINT-CASED £365�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �� MINT-CASED £999�00 NIKON 16 - 80mm f2�8-4EAF-S VR ED DX + HOOD ��MINT CASED £545�00 NIKON 18 - 105mm f3�5/5�6 “G” AF-S ED VR WITH HOOD�� MINT- £145�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL��MINT BOXED £745�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS��EXC++ £49�00 NIKON 70 - 300mm f4/5�6 AF “D” ED�� MINT- £145�00 NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST �� MINT-BOXED £899�00 NIKON DR-6 RIGHT ANGLED FINDER��MINT BOXED £145�00 NIKON TC20E II 2X AF-S TELECONVERTER �� MINT-BOXED £175�00 NIKON DR4 RIGHT ANGLE FINDER��MINT BOXED £89�00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS �� MINT- £75�00 SIGMA 50mm f2�8 EX MACRO D�� MINT BOXED AS NEW £129�00 SIGMA 105mm f2�8 EX APO DG MACRO ��EXC++ £245�00 SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �� MINT-BOXED £199�00 SIGMA 150 - 600mm f5/6�3 DG HSM OS “C” LENS�� MINT- £645�00 SIGMA 300 - 800mm f5�6 EX DG APO HSM �� MINT-CASED £3,995�00 TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO ��MINT BOXED £299�00 TOKINA 11 - 16mm f 2�8 AT-X PRO DX WITH HOOD�� MINT+HOOD £245�00 TOKINA 80 - 400mm f4�5/5�6 AT-X D��MINT BOXED £245�00 TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��MINT BOXED £295�00

Nikon Manual Focus NIKON F3 BODY UNUSED FROM A COLLECTION NEW��MINT BOXED £895�00

NIKON F3 HP BODY �� MINT- £545�00 NIKON FM2n CHROME BODY �� MINT- £295�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��MINT BOXED £165�00 NIKON F3 BODY��EXC+ £245�00 NIKON FM2n CHROME BODY ��EXC+++ £245�00 NIKON FM2 CHROME BODY ��EXC++ £199�00 NIKON FE CHROME BODY ��EXC++ £125�00 NIKON FE CHROME BODY �� MINT- £145�00 NIKON FM BLACK WITH MF-16 BACK ��EXC+++ £169�00 NIKON FM BLACK��EXC++ £145�00 NIKON FE2 BLACK BODY��EXC++ BOXED £225�00 NIKON F2 A BLACK BODY ��EXC+++ £245�00 NIKON F2 A BODY FULLY WORKING ��EXC+ £199�00 NIKON F2 PGOTOMIC BLACK BODY�� MINT- £399�00 NIKON F2 BODY FULLY WORKING��EXC+ £169�00 NIKON F2 PHOTOMIC BODY CHROME��EXC++ £275�00 NIKON F2 PHOTOMIC BODY CHROME��EXC+ £199�00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS��EXC++ £250�00 NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4�� MINT- £399�00 NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS��EXC++ CASED £145�00 NIKKORMAT FT CHROME ��EXC+++ £75�00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ��EXC++ CASED £165�00 NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ��MINT £599�00 NIKON 20mm f2�8 AIS�� MINT- £325�00 NIKON 24mm F2�8 AIS SUPERB SHARP LENS��MINT-- £199�00 NIKON 28mm f2�8 AI��MINT £165�00 NIKON 45mm F2�8 GN NIKKOR �� MINT- £199�00 NIKON 50mm f1�4 Ai�� MINT- £195�00 NIKON 50mm f1�8 AIS SHARP LENS��MINT £89�00 NIKON 55mm f2�8 MACRO AIS �� MINT- £165�00 NIKON 105mm f2�5 AI SUPERB SHARP LENS�� MINT- £165�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��MINT BOXED £295�00 NIKON 135mm f2�8 AIS�� MINT- £125�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00 NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS��MINT-CASED £1,295�00 NIKON 1000mm f11 MIRROR LENS WITH CAPS��EXC++ £495�00 NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS�� MINT- £169�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��EXC++ £119�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�� MINT- £145�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��EXC+++ £99�00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3 ��MINT £145�00 NIKON PK13 AUTO EXTENSION RING�� MINT-BOXED £55�00 NIKON PK12 AUTO EXTENSION RING��EXC++ £49�00 NIKON PK11 AUTO EXTENSION RING��MINT £49�00 NIKON TC 200 CONVERTER��MINT £69�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2�� MINT-CASED £115�00 NIKON SB 16 FLASH FOR F3��EXC++ £65�00

Olympus Manual OLYMPUS OM4 BLACK BODY��EXC++ £225�00 OLYMPUS OM2 SP��EXC++ £129�00 OLYMPUS 24mm f2�8 ZUIKO WITH HOOD�� MINT-CASED £165�00 OLYMPUS 38mm f2�8 ZUIKO MACRO LENS�� MINT-CASED £299�00 OLYMPUS 50mm f1�8 ZUIKO LENS �� MINT- £30�00 OLYMPUS 50mm f1�8 ZUIKO LENS ��MINT BOXED £49�00 OLYMPUS 50mm f3�5 MACRO LENS�� MINT-CASED £89�00 OLYMPUS 80mm f4 ZUIKO MACRO LENS�� MINT-CASED £175�00 OLYMPUS 135mm f4�5 ZUIKO MACRO LENS + HOOD�� MINT-CASED £195�00 OLYMPUS 135mm f3�5 ZUIKO LENS �� MINT-CASED £69�00 OLYMPUS 35 -70mm f3�5/4�5 ZUIKO ZOOM�� MINT-CASED £55�00 OLYMPUS 50 - 250mm f5 ZUIKO ZOOM LENS�� MINT-CASED £129�00 OLYMPUS 100 - 200mm f5 ZUIKO ZOOM LENS HAZY��EXC++CASED £39�00 OLYMPUS 2x TELECONVERTER�� MINT-CASED £35�00 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE��MINT £95�00 OLYMPUS VARI-MAGNIFINDER��MINT CASED £49�00 OLYMPUS T32 FLASH UNIT��MINT CASED £35�00 OLYMPUS WINDER 2 MOTOR DRIVE�� MINT- £20�00 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST FOR MACRO, FLASH �� PHONE PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION �� PHONE

We urgently require your used photographic equipment. We have customers waiting for: Nikon, Canon, Leica, Contax, Bronica, Hasselblad and most other makes of camera lenses, accessories, binoculars and collectables. We will buy for cash from you, or we are happy to sell on your behalf on a commission basis. Best prices paid. We can arrange collection and even call and collect and pay on the spot if necessary anywhere in the UK.

VISIT OUR WEBSITE - UPDATED DAILY

www.parkcameras.com OR CALL US 7 DAYS A WEEK

01444 23 70 60 Experts in photography

Unbeatable stock availability ed ct pe Ex

3.2”

When conditions are tough, the light is poor but the pressure’s on, the EOS-1D X Mark III lets you capture winning images before the competition. It’s the ultimate creative toolkit, with superb low-light performance, deep learning AF and 5.5K Raw video. Pre-order and receive a TWO FREE SanDisk 64GB Extreme PRO® CFexpress cards and a FREE SanDisk Extreme PRO® CFexpress card reader

12 MONTHS 0% FINANCE AND £500 TRADE-IN BONUS! See in store or online for full details.

Canon EOS M6 Mark II

Canon EOS 800D

Canon EOS 90D

32.5

24.2

32.5

MEGA PIXELS

Body only +15-45

£869

.00

£1,049

£599

.00

IS STM

£699

.00

NOW IN STOCK! See website to learn more.

Add a spare Canon LP-E17 battery for only £44.99

Canon EOS 7D Mark II

Canon EOS 6D Mark II

20.2

26.2

MEGA PIXELS 10 FPS

Body only

£1,399

.00

0% Finance

MEGA PIXELS 6.5 FPS

Add a BG-E16 grip for only £219.00

Add a Canon LP-E6N spare battery for only £74.99

Body only

£1,349

.00

0% Finance

MEGA PIXELS 10 FPS

6 FPS

Body only +18-55

IS STM

Add a BG-E21 grip for only £195.00

12 MONTHS 0% FINANCE! See website to learn more.

Body only +18-55

£1,149

.00

IS STM

£1,299

.00

12 MONTHS 0% FINANCE! See website to learn more.

30.3

MEGA PIXELS

0% Finance

8 FPS

Body only

£2,149

.00

Add a BG-E22 grip for only £250.00

12 MONTHS 0% FINANCE! See website to learn more.

£359.00

RF 28-70mm f/2 L USM

£2,649.00

£198.67

EF 35mm f/1.4L II USM

£1,628.00

£122.10

EF 85mm f/1.4L IS USM

£1,369.00

£102.67

£949.00

£71.17

EF 70-200mm f/2.8L IS III USM £1,939.00

£145.42

EF 100-400mm f/4.5-5.6L IS II

£149.92

Learn more online, instore or call 01444 23 70 60.

Minimum 10% deposit, 0% APR.

See website for paper and ink sets.

Canon PIXMA PRO-10s A3+ Printer

In stock at only

£479

.00

See website for paper and ink sets.

24.2

Body only

£679

.00

MEGA PIXELS 11 FPS

+16-50mm

£749

.00

See website for full details and to place an order!

£1,399

.00

£1,749

IN STOCK at £749.00

Samyang 35mm

f/2.8 AF - Sony E Mount

Samyang 85mm

f/1.4 AF - Sony E Mount

SAVE £25*

Our Price .00

Try this lens out for yourself in store!

*Normally £249. Offer ends 31.01.2020

SAVE £59*

Our Price

£480

.00

Spread the cost with ﬁnance options.

*Normally £539. Offer ends 31.01.2020

All prices include VAT. See website for our opening times for both our London and Burgess Hill stores. All products are UK stock. E&OE. Please mention “Amateur Photographer” when placing an order. Prices correct at time of going to press; Prices subject to change; check website for latest prices.

Body only

£1,604

.00

£150 trade-in bonus available! Call us on 01444 23 70 60

24.5

45.7

MEGA PIXELS

Body only £849.00 + 16-50mm VR £989.00 Nikon Z 70-200mm f/2.8 VR S

NEW!

9 FPS

Body only + 24-70mm

£1,649

£2,649

.00

£2,229

.00

See website for the Z6 Essential Movie Kit!

.00

£3,229

.00

Add a Nikon EN-EL15B spare battery for £59.99

Shoulder Bag

Our Price

£29.99

Available in Black or Khaki designs

*Normally £69.99. Offer ends 31.03.2020

£2,399

.00

Add a Hoya 77mm Pro UV for £73.95

Pre-order to receive one of the ﬁrst lenses! Due Spring.

Carbon Fibre Twist Lock with Ball Head

NEW!

MKBFRTC4GT-BH

Our Price

NOW IN STOCK! £359.00

Vanguard VEO SELECT 45 SAVE £40*

Coming Soon!

Manfrotto Befree GT

Feels like pen and paper. Works like magic. You can draw, edit photos and videos, or brainstorm in a way that’s so familiar, you’ll forget you’re doing it digitally.

Vanguard VEO GO 34M

Expected January! from £2,199.00

3.2”

The superb image quality of the Z 50 will do justice to the way you see the world. The wide Nikon Z mount lets the camera’s large 20.9 MP DX-format sensor capture more light across the frame. Learn more at parkcameras.com.

Nikon Z7

12 MONTHS 0% FINANCE! See website

The D780 gives you everything you’d expect from a pro-calibre DSLR, and then some. A clear view. A long battery life. A tough build. Plus two fast, reliable AF systems, phenomenal tracking, wide ISO range, and more. Freeform or staged. NEW! Stills or movies. This full-frame DSLR is fearless.

11 fps

.00*

*Price after £150 cashback from Sony. Ends 31.01.2020

3.2”

12 fps

Nikon Z6

£150 cash back

MEGA PIXELS 10 FPS

Body only +18-135mm

Creative Pen Display

A high-speed standard zoom lens speciﬁcally designed for mirrorless cameras. Now you can balance high image quality with beautiful bokeh.

£224

24.2

MEGA PIXELS

Wacom One

f/2.8 Di III RXD - Sony FE

£335

24.2

MEGA PIXELS 12 FPS

Tamron 28-75mm

A manual focus wide-angle prime for the Nikon Z mount

Sony a7 III

A3+ Printer

£174.67

Spread the cost with ﬁnance options.

Sony Alpha 6600

20.9

£2,329.00

.00

Sony Alpha 6100

MEGA PIXELS

RF 50mm f/1.2 L USM

Our Price

12 MONTHS 0% FINANCE See in store or online for full details.

24.5

In stock at only

f/2.8 - Nikon Z Mount

Body only £4,399.00 + FE 24-70mm f/2.8 GM £5,898.00

MEGA PIXELS

Per month

Samyang 14mm

Canon EOS R

Our Price

£1,999.00

3.0”

20 fps

Canon PIXMA PRO-100s

12 MONTHS 0% FINANCE available when purchasing selected Canon lenses!

EF 16-35mm f/4.0L IS USM

24.2

MEGA PIXELS

The 9 II offers advances that answer the demands of professional workﬂows, including sophisticated operability and network connectivity for enhanced support in the ﬁeld, rugged go-anywhere reliability and unrivalled speed.

Body only £6,499.00

MEGA PIXELS 14 FPS

Built for speed, reliability and productivity

! CK O EWST N IN

20 fps

UK stock

W O N

20.1

! ruary b EWFe N

Built for speed, reliability and productivity MEGA PIXELS

Competitive low pricing

Shoulder Bag & Backpack Our Price

£89.99

£259

.00

See website for even more Tripods!

Visit us in store to try this Tripod out for yourself!

Vanguard VESTA Mini Tripod

SAVE £40* Available in Black or Green designs

*Normally £129.99. Offer ends 31.03.2020

Keep up-to-date with all the latest new products and news with Park Cameras!

Our Price

£29

.95

Available in a variety of colours!

For more Vanguard tripods, visit us in store or online

Pentax AF Lenses 14mm F2.8 SMC DA................................. E++ £399 16-50mm F2.8 A* DA SDM.....15_Day_Approval - Mint- £249 -549 16-85mm F3.5-5.6 ED DC WR... Mint- - Mint £299 -379 17-70mm F4 DA AL (IF) SDM............E++ £239 -249 18-200mm F3.5-6.3 DC Macro OS HSM C - Pentax AF....E++ £169 18-55mm F3.5-5.6 DA AL........................... E++ £29 24-70mm f2.8 D FA HD ED SDM WR........Mint- £749 28-105mm F3.5-5.6 D FA ED DC WR.......Mint- £319 28-105mm F4-5.6 FA................................. E++ £79 28-200mm F3.8-5.6 FA IF AL...................... E++ £59 28-70mm F2.8 SMC AL FA*.........................E+ £549 28-70mm F4 FA AL.......................E+ - E++ £39 -49 28-80mm F3.5-5.6 FA................................ E++ £49 35mm F2.4 DA AL.....................E++ - Mint- £69 -79 35mm F2.8 DA Macro HD........E+ - Mint- £299 -389 40mm F2.8 SMC DA XS...........E+ - Mint- £149 -159 50-135mm F2.8 DA* ED SDM................... E++ £449 50-200mm F4-5.6 DA ED WR............E+ - Mint- £79 50mm F1.4 SMC FA.....................................E+ £149 50mm F1.4 ZK Planar Zeiss...................... E++ £299 50mm F1.8 SMC DA.................E++ - Mint- £49 -79 50mm F2.8 SMC D FA Macro.................... E++ £199 55-300mm F4-5.8 DA ED.................E++ £149 -159 55-300mm F4-5.8 ED WR HD................... E++ £179 70mm F2.4 DA Limited Edition ....................E+ £249 75-300mm F4.5-5.8 FA J AL....................... E++ £39 80-200mm F4.7-5.6 FA.................................E+ £49 85mm F2.8 SMC FA Soft Focus................. E++ £349 100mm F2.8 D FA Macro.............................E+ £259 200mm F2.8 DA* ED (IF) SDM....E++ - Mint- £499 -599 Sony AF lenses 11-18mm F4.5-5.6 DT.............................. E++ £239 16-35mm F2.8 ZA SSM...............................E+ £649 16-50mm F2.8 DT SSM............................ E++ £249 16-80mm F3.5-4.5 ZA.............................. E++ £399 16mm F2.8 Fisheye..........................E++ £399 -499 18-200mm F3.5-6.3 DT...............................E+ £199 18-55mm F3.5-5.6 DT SAM .........E+ - E++ £39 -49 18-70mm F3.5-5.6 DT..................E+ - E++ £49 -59 24mm F2.8 AF.......................................... E++ £199 28-70mm f2.8 AF .............................E++ £269 -299 28-80mm F3.5-5.6 AF..........................E++ £19 -29 28mm F1.8 Asph - Sony AF ..........................Exc £99 28mm F2.8 AF..............................E+ - E++ £89 -99 30mm F2.8 SAM Macro............E++ - Mint- £79 -89 35-70mm F3.5-4.5 AF..................E+ - E++ £15 -25 35-70mm F4 AF ............................................E+ £29 35-80mm F4-5.6 AF................................... E++ £19 35mm F1.8 DT SAM ......................................E+ £79 50mm F1.7 AF........................................ E+ £49 -59 50mm F2.8 AF Macro ............................. E+ £79 -99 50mm F3.5 AF Macro ............................... E++ £119 55-200mm F4-5.6 DT....................................E+ £39 55-300mm F4-5.6 DT SAM ...................... E++ £179 70-210mm F3.5-4.5 AF.............................. E++ £49 70-210mm F4.5-5.6 AF...................... E+ - E++ £39 75-300mm F4.5-5.6 AF................E+ - E++ £39 -49 75-300mm F4.5-5.6 D .................E+ - E++ £49 -59 85mm F1.4 ZA...............................E++ - Mint- £699 90mm F2.8 SP AF Macro - Tamron ........... E++ £149 90mm F2.8 SP Di Macro -Tamron............. E++ £199 100-200mm F4.5 AF .....................................E+ £39 100-300mm F4.5-5.6 AF..............E+ - E++ £59 -69 100-300mm F4.5-5.6 Xi......................... E+ £49 -59 100mm F2.8 FE STM GM OSS ...............Mint- £1099 105mm F2.8 Macro EX DG OS HSM - Sony AF....Mint- £279 300mm F2.8 G SSM .............................Mint- £2349 300mm F2.8 G SSM II................................E+ £4795 Digital SLR Canon EOS 1DX Body Only.15_Day - E+ £949 -2099 EOS 1DS III Body Only............................... E++ £649 EOS 1D II Body Only.....................................E+ £169 EOS 5DS Body Only ..............E+ - E++ £1249 -1299 EOS 5D III Body + BG-E11 Grip....................E+ £949 EOS 7D II Body Only.................................. E++ £679 EOS 7D Body Only .............................. E+ £199 -219 EOS 7D + BG-E7 Grip ..................................E+ £249 EOS 70D Body Only .......................... E+ - E++ £349 EOS 60D Body Only .....................................E+ £219

EOS 50D Body Only .....................................E+ £119 EOS 760D Body Only ................................ E++ £349 EOS 750D Body Only ........................E++ £319 -329 EOS 550D Body Only ...................................E+ £149 EOS 500D Body + BG-E5 Grip......................E+ £129 EOS 500D + BG-E5 Grip ..............................E+ £129 EOS 1000D Body Only ...................................E+ £69 EOS 450D Body Only .....................................E+ £79 EOS 400D Body Only .....................................E+ £59 EOS 350D Body Only .............................. E+ £39 -49 EOS 350D + 18-55mm.................................Exc £59 EOS 350D Body + BG-E3 Grip........................E+ £49 EOS 10D Infra Red Body Only.........................E+ £99 Nikon D4S Body Only....................E++ £1999 -2249 D4 Body Only.............................................E+ £1800 D3X Body Only..........................E+ - E++ £749 -799 D810 Body Only......................E+ - E++ £949 -1150 D800E Body Only...................................... E++ £789 D800E Body + MB-D12 Grip..................... E++ £899 D800 Body Only.................................. E+ £539 -749 D750 Body Only................ 15_Day - E++ £599 -889 D700 Body Only...................15_Day - E+ £199 -329 D700 Body + MB-D10 Grip.......E+ - E++ £349 -389 D600 Body Only.......................E+ - Mint- £449 -599 D600 Body + MB-D14 Grip..........................E+ £489 D300S Body Only.........................................E+ £199 D300 Body Only...........................................E+ £139 D300 + MB-D10 Grip...........15_Day - E+ £129 -179 D200 IR Body Only............................... 15_Day £179 D7500 Body Only.................. Mint- - Mint £649 -699 D7200 Body Only..................E++ - Mint- £459 -519 D7100 Body Only..............................E++ £319 -349 D7000 Body Only..............................E++ £169 -219 D5100 Body Only......................E+ - E++ £129 -149 D3500 Body Only.....................................Mint- £289 D3400 Body Only...........................E++ - Mint- £219 D3100 Body Only........................................ E++ £89 D80 Body Only............................................ E++ £79 Olympus E5 Body + HLD4 Grip ................. E++ £499 E5 Body Only ............................................ E++ £449 E3 Body Only ...............................................E+ £179 E1 Body Only ......................................... 15_Day £99 E30 Body Only .............................................E+ £159 E620 + 40-150mm......................................E+ £149 E600 + 14-42mm........................................E+ £129 E510 + 18-180mm......................................E+ £159 E510 + 14-42mm..................15_Day - E+ £59 -129 E450 + 14-42mm + 40-150mm............... E++ £159 E420 + 14-42mm + 40-150mm..................E+ £159 E410 + 14-42mm + 40-150mm............... E++ £169

GX800 Body Only - Silver.........................Mint- £169 GX8 Body Only......................E++ - Mint- £449 -469 GF6 Body Only............................................ E++ £99 GF3 Body Only...............................................E+ £49 G2 Body Only.................................................E+ £49 Sony Alpha 7R IV Body Only...................Mint- £2949 Alpha 7R III Body Only...........E+ - E++ £1399 -1799 Alpha 7R II Body Only......................E++ £949 -1049 Alpha 7 II Body + Grip.............................Mint- £799 Alpha 7 II Body Only.................................. E++ £699 Alpha 7 Body Only .................................... E++ £499 Alpha 6300 Body Only .................................E+ £419 Alpha 6000 Body Only ..............E+ - E++ £219 -249 NEX C3 + 18-55mm ................................ E++ £129 Canon AF Lenses 8-15mm F4 L Fisheye USM......................Mint- £899 10-22mm F3.5-4.5 EFS....................E++ £199 -219 15-85mm F3.5-5.6 IS USM EF-S .............. E++ £289 15mm F2.8 EF Fisheye ......15_Day - Mint- £99 -449 17mm F4.0 L TSE................................... E++ £1439 17-40mm F4 L USM .................E+ - E++ £319 -339 17-85mm F4-5.6 IS USM.................15_Day £79 -99 18-55mm F3.5-5.6 IS STM.......E++ - Mint- £59 -69 18-55mm F3.5-5.6 EFS IS.......................... E++ £59 18-135mm F3.5-5.6 IS USM EF-S ............ E++ £239 18-200mm F3.5-5.6 IS EFS...................... E++ £219 24mm F1.4 L USM.................................... E++ £589 24mm F1.4 L USM II................E+ - Mint- £679 -819 24mm F3.5 L TS-E.............................. E+ £499 -549 24-70mm F2.8 L USM ..............E+ - E++ £499 -599 24-70mm F2.8 L USM II.........Exc - E++ £799 -1089 24-70mm F4 L IS USM ............................. E++ £489 24-105mm F4 L IS USM ...........E+ - E++ £339 -429 28-70mm F2.8 L USM .............Exc - E++ £289 -399 28-135mm F3.5-5.6 IS USM..........................E+ £99 28mm F2.8 IS USM................................... E++ £299 35mm F2.8 Macro IS STM EF-S...............Mint- £269 40mm F2.8 STM....................................... E++ £109 45mm F2.8 TS-E .........................................E+ £549 50mm F1.8 EF II ...................................E++ £49 -55 50mm F1.8 EF Mk1.................................. E++ £119 55-250mm F4-5.6 EFS IS.............E+ - E++ £69 -89 60mm F2.8 EFS Macro ............................Mint- £219 70-200mm F4 L IS USM II....................... E++ £1099 70-200mm F4 L IS USM ...........E+ - E++ £449 -599 70-200mm F4 L USM ............................... E++ £349 70-200mm F2.8 L IS USM ........E+ - E++ £649 -799 70-300mm F4-5.6 L IS USM.....E+ - E++ £699 -789 70-300mm F4.5-5.6 DO IS USM..15_Day - E++ £269 -449 75-300mm F4-5.6 IS USM...........................E+ £179 75-300mm F4-5.6 USM III....................E++ £49 -59 80-200mm F4.5-5.6 EF II ..............................E+ £39 85mm F1.8 USM....................................... E++ £199 85mm F1.4 L IS USM.....................Mint- £999 -1049 90mm f2.8 TSE Shift................................. E++ £599 90-300mm F4.5-5.6 EF..........................Unused £99 100mm F2.8 EF Macro ............................. E++ £179 100mm F2.8 L Macro IS USM................... E++ £569 100mm F2.8 USM Macro..................E++ £249 -299 100-400mm F4.5-5.6 L IS USM........E++ £599 -699 100-400mm F4.5-5.6 L IS II USM........... E++ £1349 135mm F2 L USM..................................... E++ £499 200mm F1.8 L USM........................... 15_Day £1199 200-400mm F4 L IS USM with Internal 1.4x Extender LensE++ £6989 -7349 300mm F4 L USM........................................E+ £399 300mm F4 L IS USM................E+ - Mint- £449 -599 300mm F2.8 L IS USM.........Exc - E++ £1599 -2249 300mm F2.8 L USM..............E+ - E++ £1049 -1499 300mm F2.8 L IS USM II...............E++ £3489 -3499 400mm F5.6 L USM..................E+ - E++ £599 -639 400mm F2.8 L IS USM...............................E+ £3449 400mm F4 DO IS USM.................... E+ £1499 -1594 500mm F4.5 L USM.............Exc - E++ £1249 -1649 500mm F4 L IS USM............................... E++ £3099 500mm F4 L IS USM II............................ E++ £5999 600mm F4 L USM.....................................Exc £1849 600mm F4 L IS USM............Exc - E++ £3299 -3989 600mm f4 L IS USM II...................E++ £6799 -6959

Digital Mirrorless Fujifilm X-E3 Body Only - Black................. E++ £399 X-E2s Black Body Only.............................. E++ £249 X-E2 Black Body Only ......... 15_Day - E++ £99 -219 X-T1 Body + VPB-XT1 Vertical Grip..15_Day - E+ £129 -299 X-T1 Body Only................. 15_Day - E++ £189 -279 X-T20 Body Only - Silver..........................Mint- £449 X-T10 Black Body Only .............E+ - E++ £179 -219 X-A2 Body Only - Silver............................... E++ £99 X-M1 Silver Body Only................................ E++ £99 X-M1 + 16-50mm .................................... E++ £199 Leica CL + 18mm F2.8 - Silver .............Mint- £2499 T Black + 23mm F2................................ E++ £1299 T Silver + 18-56mm Asph....................... E++ £1099 Olympus E-M1 II Body + HLD-9 Grip......... E++ £949 E-M1 II Body Only.......................................Exc £749 E-M1 Black Body Only .............................. E++ £299 E-M10 II Black Body Only......E++ - Mint- £179 -199 E-M5 II Body Only - Silver........................ E++ £399 E-M5 Silver Body + HLD-6 Grip ..................E+ £179 E-PM2 Red Body Only............................ 15_Day £49 E-PM2 Black Body Only .............................. E++ £79 E-PM1 Black Body Only .............................. E++ £59 E-M1 Black Body + HLD-7 Grip ...................E+ £349 Panasonic GH5 Body Only.....E++ - Mint- £879 -899 GH5 Body + Grip...................................... E++ £949 GH4 Body Only.............................................E+ £449 GX9 Body Only - Black.............................. E++ £349 G9 Body Only...............................................E+ £699 G7 Body Only...............................................E+ £239 Sigma - Canon AF Fit GX85 Body Only ...........................................E+ £219 8mm F3.5 EX DG Fisheye ......................... E++ £449

10-20mm F4-5.6 EX DC HSM ..........E++ £159 -179 12-24mm F4.5-5.6 EX DG HSM .......E++ £249 -269 15mm F2.8 EX DG Fisheye....E++ - Mint- £299 -319 17-35mm F2.8-4 EX HSM ...........................E+ £119 17-50mm F2.8 EX DC OS HSM ................. E++ £224 18-50mm F2.8 EX DC............................... E++ £119 18-250mm F3.5-6.3 DC Macro OS HSM......E+ £159 20mm F1.8 EX DG .................................... E++ £259 28mm F1.8 EX DG ................................... E++ £179 50mm F2.8 EX DG Macro.......................... E++ £129 50mm F1.4 EX DG HSM ...................... 15_Day £129 55-200mm F4-5.6 DC ................................ E++ £39 70mm F2.8 EX DG Macro ......................... E++ £249 70-300mm F4-5.6 Apo .................................E+ £39 70-200mm F2.8 APO EX DG II Macro ..........E+ £199 70-210mm F2.8 Apo AF ...................... 15_Day £129 70-200mm F2.8 Apo EX DG HSM ............. E++ £219 80-400mm F4.5-5.6 EX Apo DG OS ............E+ £289 100-600mm F5-6.3 DG OS HSM Sport .... E++ £899 105mm F2.8 Macro EX DG OS HSM.......... E++ £259 120-300mm F2.8 EX HSM APO DG .......... E++ £699 150-600mm F5-6.3 DG OS HSM Sport .......E+ £899 180mm F2.8 Apo Macro .......................... E++ £159 300mm F4 Apo AF ............................... 15_Day £159 300mm F2.8 APO EX DG HSM ... E++ - Mint £1349 -1399 400mm F5.6 Apo ..................................... E++ £199 500mm F4.5 APO AF....................................E+ £449 500mm F7.2 Apo ........................................E+ £149 600mm F8 Reflex .................................... E++ £149 800mm F5.6 APO EX DG HSM ................ E++ £3499 800mm F5.6 Apo.........................................E+ £649 Nikon AF Lenses 10-20mm F4.5-5.6 G AF-P DX VR....Mint- £159 -169 10-24mm F3.5-4.5 G AFS DXE++ - Mint- £269 -299 10.5mm F2.8 G AF ED DX Fisheye.....E++ £229 -259 12-24mm F4 G AFS DX ED................ E+ - E++ £249 14mm F2.8 AFD........................E+ - E++ £579 -679 14-24mm F2.8 G AFS ED............Exc - E+ £599 -659 16mm F2.8 AFD Fisheye...................E++ £379 -399 16-35mm F4 G AFS ED VR.......E+ - Mint- £549 -649 16-80mm F2.8-4 E VR N...................E++ £589 -599 16-85mm F3.5-5.6 G ED VR AFS DX ......... E++ £199 17-35mm F2.8 ED AFS....15_Day - Mint- £289 -599 17-55mm F2.8 G AFS DX IFED..E+ - E++ £349 -379 18mm F2.8 AFD...........................................E+ £449 18-35mm F3.5-4.5 AFS........E++ - Mint- £369 -429 18-35mm f3.5-4.5 AFD ....................E++ £179 -189 18-105mm F3.5-4.5 G AFS ED DX VR..E+ - E++ £99 -119 18-55mm F3.5-5.6 G AF-P DX VR..............Mint- £49 18-70mm F3.5-4.5 G AFS ED DX...................E+ £75 18-135mm F3.5-5.6 G AFS DX ...........E++ £99 -119 18-140mm F3.5-5.6 AF-S G ED VR DX...... E++ £169 18-200mm F3.5-5.6 G AFS DX VR .. E+ - E++ £159 -189 18-200mm F3.5-5.6 G AF-S DX ED VR II..E+ - E++ £179 -199 18-300mm F3.5-5.6 G ED AFS DX VR ..........E+ £399 20mm F1.8 G AFS ED ...........E++ - Mint- £539 -549 20-35mm F2.8 AF .......................................E+ £279 24mm F1.8 AFS G ED ...........E++ - Mint- £449 -499 24mm F1.4 AFS G ED ..............Exc - E++ £749 -949 24mm F2.8 AFD............................Exc - E+ £99 -199 24mm F3.5D ED PC-E.......................E++ £799 -899 24-70mm F2.8 G AFS ED..........E+ - E++ £619 -849 24-70mm F2.8E AFS VR ED ...................Mint- £1399 24-120mm F4 AFS G ED VR......E+ - E++ £349 -459 24-120mm F3.5-5.6 G AFS ED VR............. E++ £199 24-120mm F3.5-5.6 ED AFD ..15_Day - E++ £99 -149 24-85mm F3.5-4.5 G AFS VR.................... E++ £269 24-85mm F2.8-4 AFD............................... E++ £179 28mm F1.4 AFS E ED.............................. E++ £1249 28mm F1.8 G AFS.................E++ - Mint- £279 -299 28mm F2.8 AFN............................E+ - E++ £89 -99 28mm F2.8 AFD................................E++ £139 -149 28-70mm F2.8 AFS .......... 15_Day - E++ £399 -499 28-70mm F2.8 D AFS.......................... 15_Day £299 28-85mm F3.5-4.5 AF...................................E+ £59 28-100mm F3.5-5.6 AFG........................ E+ £39 -49 28-300mm F3.5-5.6 G ED AFS VR....E++ - Mint- £469 -549 35mm F2 AFN..........................................Mint- £109 35mm F1.8 AFS G FX...............................Mint- £389 35mm F1.8 G AFS DX ........15_Day - Mint- £49 -109 35mm F2 AFD........................................... E++ £199

35-70mm F3.3-4.5 AFN.............................. E++ £49 35-70mm F2.8 AFN................. 15_Day- Unused £79 35-70mm F2.8 AFD.......... 15_Day - E++ £149 -399 35-105mm F3.5-4.5 AF.................................E+ £49 40mm F2.8 G AFS DX Micro.....................Mint- £189 45mm F2.8 D PC-E ED Micro.................... E++ £949 50mm F1.8 AFD............................E+ - E++ £49 -79 50mm F1.8 G AFS.................E++ - Mint- £129 -149 50mm F1.8 G AFS Special Edition....Mint- £149 -179 50mm F1.4 G AFS.....................E+ - E++ £189 -239 55-200mm F4-5.6 AFS DX G VR ................. E++ £89 55-200mm F3.5-5.6 AFS DX G ................... E++ £69 55-200mm F4-5.6 AFS DX G VR II....Mint- £119 -129 55mm F2.8 AF Micro ...................................E+ £199 60mm F2.8 AFD Micro..............E+ - E++ £179 -209 60mm F2.8 AFS G ED Micro......E+ - E++ £279 -299 70-210mm F4-5.6 AF...........................E++ £49 -59 70-210mm F4-5.6 AFN................................Mint £99 70-200mm F2.8 G AFS ED VR...E+ - E++ £699 -749 70-200mm F2.8 G AFS ED VRIIE+ - E++ £849 -1099 70-300mm F4-5.6 AFG.................E+ - E++ £39 -49 70-300mm F4-5.6 ED AFD ...........E+ - E++ £79 -89 70-300mm F4-6.3 G AF-P VR ................... E++ £219 70-300mm F4-5.6 G AFS VR.. 15_Day - E++ £149 -299 70-200mm F4 G AFS ED VR..E++ - Mint- £659 -749 75-240mm F4.5-5.6 AFD............................ E++ £89 80-200mm F2.8 ED AF ................................E+ £199 80-200mm F2.8 ED AFD..................... E+ £249 -299 80-400mm F4.5-5.6 AFD VR............... E+ £299 -589 85mm F1.4 AF-S G...................E+ - E++ £679 -749 85mm F1.8 AFD................................ E+ - E++ £199 85mm F1.8 AF-S G...............E++ - Mint- £289 -319 85mm F1.4 G AFS........................................E+ £599 85mm F1.4 AFD...........................................E+ £439 85mm F2.8 D PC Micro............................. E++ £729 105mm F2.8 AFS G VR Micro...Exc - E++ £349 -459 135mm F2 D AF DC.....................................E+ £689 180mm F2.8 ED AF......................................E+ £379 200-400mm F4 G VR AFS IFED ..................E+ £1649 200-400mm F4 G AFS VR II................ 15_Day £2399 300mm F2.8 IFED AF..................Exc - E+ £649 -699 300mm F2.8 IFED AF-i.................................E+ £989 300mm F2.8 D AFS.....................................Exc £999 300mm F2.8 D AFS II.................................E+ £1749 300mm F4 E PF ED VR AFS...E++ - Mint- £1299 -1399 400mm F2.8 AFi IFED ................................E+ £1949 400mm F2.8 AFS D II.................................E+ £2749 500mm F4 AFS IFED..................................E+ £1899 600mm F4 AFi ED D...................................E+ £1999 Sigma - Nikon AF Fit 4.5mm F2.8 EX DC Fisheye HSM .............. E++ £399 10-20mm F3.5 EX DC HSM ...................... E++ £219 10-20mm F4-5.6 EX DC HSM .................. E++ £159 15mm F2.8 EX DG Fisheye .......E+ - E++ £299 -349 17-50mm F2.8 EX DC OS HSM ................. E++ £219 17-70mm F2.8-4 DC OS Macro HSM C .... E++ £219 18-50mm F2.8 EX .................................. E++ £129 24-70mm F2.8 IF EX DG HSM .................. E++ £349 50-150mm F2.8 Apo EX DC HSM ................E+ £239 50mm F1.4 DG HSM ........................E++ £189 -199 70-200mm F2.8 Apo EX DG HSM Macro... E++ £219 70-210mm F2.8 Apo AF ........................... E++ £159 85mm F1.4 EX DG HSM ..........................Mint- £389 100-300mm F4 Apo IF ................................E+ £269 105mm F2.8 EX DG Macro ....................... E++ £179 150-500mm F5-6.3 APO DG OS HSM .Exc - E++ £259 -449 150mm F2.8 Apo DG HSM Macro ............. E++ £499 200-500mm F2.8 APO EX DG ................. E++ £8999 300mm F4 Apo AF ................................... E++ £149 400mm F5.6 AF ..........................................E+ £159 Fujifilm X Lenses 10-24mm F4 XF R OIS.............................. E++ £649 14mm F2.8 XF......................E++ - Mint- £399 -439 15-45mm F3.5-5.6 OIS PZ XC - Black ...... E++ £129 16mm F1.4 R WR XF................................. E++ £649 16-55mm F2.8 R LM WR XF .............E++ £649 -699 18mm F2 XF R......................E++ - Mint- £259 -279 18-135mm F3.5-5.6 LM OIS WR XF..E+ - E++ £439 -479 18-55mm F2.8-4 R LM OIS XF..E+ - E++ £239 -279 23mm F1.4 XF R....................................... E++ £509

23mm F2 XF - Black................................Mint- £319 27mm F2.8 XF......................E++ - Mint- £169 -199 35mm F1.4 XF R...................E++ - Mint- £329 -379 56mm F1.2 R XF...................E++ - Mint- £579 -649 50-230mm F4.5-6.7 OIS XC ....................Mint- £149 55-200mm F3.5-4.8 R LM OIS XF... E+ - Mint- £399 -439 60mm F2.4 XF R Macro............................ E++ £299 90mm F2 WR XF................................. E+ £499 -549 MCEX-16 Macro Extension Tube 16mm - Fujifilm X......E++ £49 Sony E Lenses 12-24mm F4 G FE .................................Mint- £1089 16mm F2.8 E.............................................. E++ £79 18-55mm F3.5-5.6 SAM............................. E++ £39 18mm F2.8 Batis Distagon T* - Zeiss E....Mint- £899 19mm F2.8 DN A - Silver - Sigma E...............E+ £79 20mm F1.4 DG HSM Art - Sony E.................E+ £449 20mm F1.8 ED AS UMC FE - Samyang E..Mint- £299 20mm F2 super Macro ............................... E++ £89 24-240mm F3.5-6.3 OSS FE....E+ - Mint- £479 -499 24-70mm F2.8 GM FE ...........................Mint- £1449 24-70mm F4 FE ZA OSS...........E+ - E++ £449 -459 24mm F1.8 ZA E...............................E++ £399 -419 25mm F2 Batis Distagon T* - Zeiss E... E++ - Mint- £699 -779 28mm F2 FE............................................Mint- £279 30mm F3.5 Macro E................................. E++ £129 32mm F1.8 Touit - Zeiss E.......................Mint- £329 35mm F1.4 AF FE - Sony E....................... E++ £429 35mm F1.4 FE T* ZA................................Mint- £959 35mm F1.8 E OSS .......................................E+ £199 35mm F2 Loxia - Sony E.......E++ - Mint- £589 -599 35mm F2.8 AF FE - Sony E....................... E++ £189 35mm F2.8 FE ZA............................Mint- £349 -439 50mm F1.8 FE........................................Mint- £129 50mm F2 Loxia Planar T* - Zeiss E..E++ - Mint- £475 -489 55-210mm F4.5-6.3 OSS ......................... E++ £129 55mm F1.8 FE ZA..........................E++ - Mint- £499 70-200mm F2.8 GM FE .......................... E++ £1899 70-200mm F4 G OSS FE.......E++ - Mint- £919 -949 70-300mm F4.5-5.6 G OSS FE ................. E++ £849 85mm F1.4 DG HSM Art - Sigma E............ Mint £699 85mm F1.4 GM FE.................................Mint- £1149 85mm F1.8 Batis Sonnar T* - Zeiss E.......Mint- £699 85mm F2.4 Loxia Distagon T* - Zeiss E ...Mint- £719 90mm F2.8 Macro G OSS FE..................... E++ £749 100-400mm F4.5-5.6 OSS GM FE .........Mint- £1899 105mm F1.4 DG HSM Art - Sigma E.........Mint £1149 135mm F1.8 DG HSM Art - Sigma E.......... E++ £839 135mm F1.8 G Master - Sony E.............Mint- £1299 Panasonic Micro 4/3rd Lenses 12-32mm F3.5-5.6 OIS G .........E++ - Mint- £89 -99 12-50mm F3.5-6.3 ED M.Zuiko - Olympus ....E+ £99 12mm F2 ED M.Zuiko - Silver - Olympus...E++ - Mint- £329 -349 14-150mm F4-5.6 M.Zuiko ED II - Olympus... Mint- £319 14-42mm F3.5-5.6 Asph OIS ..................... E++ £69 14-42mm F3.5-5.6 EZ M.Zuiko - Olympus E++ £109 14-42mm F3.5-5.6 M.Zuiko - Olympus....... E++ £69 15mm F8 Body Cap Lens - Olympus....E++ - Unused £39 -45 17mm F1.8 M.Zuiko Black - Olympus...E++ £219 -229 17mm F1.8 M.Zuiko Silver - Olympus......Mint- £259 20mm F1.7 ASPH II .................................Mint- £179 25mm F1.2 M.Zuiko PRO - Olympus........Mint- £649 25mm F1.8 M.Zuiko - Olympus................ E++ £199 35-100mm F2.8 GX OIS VarioE++ - Mint- £479 -529 35-100mm F4-5.6 OIS Asph G...E+ - Mint- £99 -129 40-150mm F4-5.6 R ED M.Zuiko - Olympus E+ - E++ £69 -79 42.5mm F1.7 G ASPH OIS....E++ - Mint- £199 -219 45-150mm F4-5.6 Asph OIS....................... E++ £89 45mm F1.2 M.Zuiko ED Pro - Olympus..... E++ £789 45mm F1.8 M.Zuiko - Silver - Olympus ..E++ - Mint- £139 56mm F1.4 DC DN - Sigma .....................Mint- £299 75-300mm F4.8-6.7 ED M.Zuiko - Olympus .Mint- £289 -299 75mm F1.8 ED M.Zuiko - Silver - OlympusE++ £399 100-300mm F4-5.6 G OIS ...........................E+ £189 100-400mm F4-6.3 Power OIS................Mint- £939 200mm F2.8 Power DG OIS + 1.4x ........ E++ £1489 DMC-TC14E 1.4x Teleconverter ...............Mint- £319

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Photo Critique

Final Analysis I

t is very seldom that the two disciplines of a strong story and beautiful composition come together, but when they do the sheer power and beauty of an image can provide almost overwhelming emotion. Witness my all time favourite photograph, Dorothea Lange’s iconic ‘Migrant Mother’. The sheer power and sadness conveyed by this image and the story of Dustbowl California in the 1930s can somehow overshadow the absolute perfection of the composition. Lange herself admitted that she was somehow overawed by this image and she never managed to repeat it and, to some extent it haunted the rest of her impressive career. The photographs in Georgian photographer Natela Grigalashvili’s remarkable project The Doukhobors’ Land achieve this rare and remarkable combination time after time. Image after image.

Tim Clinch considers... ‘Portrait of Masha’ by Natela Grigalashvili

Exiled by Russia The Doukhobors are an Orthodox Protestant society, which appeared three centuries ago in Russia’s Tambov province. Exiled by the Russian Tsar and relocated to Georgia, Doukhobors founded eight villages in Javakheti Region, biggest of them was Gorelovka. They consider Javakheti as a holy land, and call it ‘the Doukhobors’ Land’. In faith they reject all material – crosses, icons, even priests and church rituals. During birth, marriage and death, they conduct simple rituals. They say that God is everywhere and in everything, especially in the human soul and every person itself is a temple. The last 20 years have been especially difficult for Doukhobors. No one can say why most of them have decided to return to Russia but lack of opportunities in education and work is forcing them to leave the villages and the country. Make no mistake, this is exceptional photography at any level. Natela’s work is close to perfection and why she is not world-famous is a mystery to me. This portrait is exceptional, and the way it ﬁts seamlessly into the beautifully conceived and executed story should be a lesson to us

‘Natela’s work is close to perfection and why she is not world-famous is a mystery to me’

on Instagram. Natela’s feed (@natela_ grigalashvili) is, like all her work, a joy and if ever there were a reason for each and every one of you to finally put aside your misconceptions of what Instagram is all about, let this be it. It is no longer the place for teenage girls to post pictures of all. It has, like all her work, a simplicity Justin Bieber and fluffy kittens but, and a beauty of composition that seems without a doubt the best and most effortless, but which belies a brilliant eye interesting place to find the very best of and an awful lot of hard work and photography. dedication. I hope you like this picture and the rest It might also be of interest to you how I of this remarkable photographer’s work as found out about this remarkable much as I do. Am I saying that her work photographer. The answer will doubtless could be spoken of in the same breath as upset a lot of supposedly ‘serious’ my hero, Dorothea Lange’s? In a photographers. I stumbled across her work word… yes.

Tim Clinch is an award-winning professional photographer with over 40 years’ experience. Over the years Tim has worked in most areas of the profession, has had his work published in magazines worldwide, and has had more than 30 books published featuring subjects as varied as interiors, travel, food and portraits. To see his work, visit www.timclinchphotography.com. 66

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